Max (I) (2002)
Critic Reviews
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70
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Dallas Observer Gregory Weinkauf
Pits good taste against rousing intellectual provocation, and, happily, allows both to win.
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70
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New York Magazine (Vulture) Peter Rainer
Noah Taylor does startlingly well by this role, but the conceit behind the film is a bizarre piece of wish-fulfillment.
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60
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Variety Todd McCarthy
The film is ultimately too glib in its suggestion that Hitler's discovering his career path was a matter of sheerest chance, even an accident.
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50
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Slate David Edelstein
As a ravishingly photographed, high-minded meditation on the potential of art and therapy to exorcise the vilest sort of psychological poison, it is positively riotous -- an Everest of idiocy.
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50
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TV Guide Magazine Ken Fox
What does make the film disturbing is the way in which it positions Hitler as a mere mouthpiece for what was already in the air, a role he was convinced to play after suffering one disappointment too many at the hands of Jews like Rothman.
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50
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The Globe and Mail (Toronto) Rick Groen
The whole film occupies pretty much the same continuuum -- glimmers of intelligence followed by moments of outright hysteria punctuated by bouts of sheer haplessness.
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40
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L.A. Weekly Ella Taylor
Suggests that had young Adolf Hitler managed to get his art show, the Holocaust might never have happened. This seems absurd, not to say insensitive.
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38
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New York Daily News Jami Bernard
A serious and thoughtful movie that probably does not mean to trivialize the Holocaust and blame the victim. But it is playing with fire nevertheless.
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30
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The A.V. Club Nathan Rabin
Quirky, unsatisfying portrait.
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30
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Los Angeles Times Kenneth Turan
Just because people are objecting to Max for all the wrong reasons doesn't make it a good film, and it's not. It's a bizarre curiosity memorable mainly for the way it fritters away its potentially interesting subject matter via a banal script, unimpressive acting and indifferent direction.
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