Critic Reviews

80

Metascore

Based on 17 critic reviews provided by Metacritic.com
100
Here is a film of great beauty and attention, and watching it is a form of meditation. Sometimes films take a great stride outside the narrow space of narrative tradition and present us with things to think about. Here mostly what I thought was, why must man sometimes be so cruel?
100
An investigation into Pieter Bruegel the Elder's painting "The Way to Calvary," Majewski's film is a stunning piece of art in its own right.
88
An art-history lesson and a spiritual exercise disguised as a movie.
88
The Mill and the Cross captures the wish that some of us have had while standing in front of a great painting. What hangs before us is so striking, beautiful, strange, vast, horrifying, ethereal, lifelike - so alive - that we're desperate to enter the other side of the canvas, to be inside the painting.
75
Every bit as visceral an experience as Cave of Forgotten Dreams, and with a lead actor whose face radiates the same eternal quality as that of the late Klaus Kinski, The Mill and The Cross also feels a lot like live theater.
75
No description can do justice to The Mill and the Cross, which must be seen to be fully appreciated.
75
Majewski's film is a captivating exercise that will interest fans of art, not to mention arthouse cinema. But the movie's lasting impression is about more than novelty. It's a portrait of suffering and subjugation that urges viewers to stop what they're doing and take notice of the world around them.
63
The Mill and the Cross may thrill you. But be prepared for a fight. Twenty minutes in, your companion may throw up his or her arms and complain, "This is like watching a painting dry." They wouldn't be wrong.
50
If ever a film cried out for the 3D treatment, it's The Mill & the Cross, an ambitious but frustratingly flat attempt to explore, analyze and dramatize a masterpiece of 16th-century art.
50
Despite a too slow pace for my own tastes, Hauer helps move the film along by being captivating even in just a few scenes. He, Michael York as a businessman and Charlotte Rampling as the Virgin Mary provide what little dialogue exists in a screenplay that could have used a little more backstory.

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