Critic Reviews



Based on 17 critic reviews provided by Metacritic.com
Von Trotta seems to borrow some of her subject's haughty disdain for compromise in a serviceable script that does the job of telling us who Hannah Arendt was like a good pair of solid, gray walking shoes; there's nothing fancy or modern to distract from the portrait of one of the most important thinkers of the century.
The New York Times
Hannah Arendt conveys the glamour, charisma and difficulty of a certain kind of German thought.... The movie turns ideas into the best kind of entertainment.
The writer-philosopher Hannah Arendt is brought to life by a mesmerizing Barbara Sukowa in Margarethe von Trotta's film.
Talky but fascinating period drama.
En route, despite some clumsy exposition and the reduction of heavyweights like Mary McCarthy and William Shawn to fifth-business caricatures, the film does manage one impressive intellectual achievement of its own: rescuing that “banality of evil” phrase from the banal cliché it's become and, by providing the full and daring context, giving it real meaning again.
The rare film that flows from a wellspring of ideas.
Hannah Arendt takes seriously the life of the mind.
Barbara Sukowa's performance in the title role is the kind that reverberates long after the screen goes black.
As a filmic examination of an extraordinary mind, it doesn't breathe much life into the frame.
The film's most striking quality, and it's not insignificant, is director Margarethe von Trotta's refusal to fossilize the controversies she dramatizes.
It's involving, as biopics go, but the shattering debates that still swirl around Arendt's view of the Holocaust are relegated to walk-ons.
A movie of one billion cigarettes, Hannah Arendt is about moral reason, not personality. It could do worse than lead you straight to the woman's books.
This is a formal and pedagogic production, but worthwhile nonetheless.
A film that ultimately says more about banality than evil.

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