Reviews provided by RottenTomatoes
Leighton Walter Kille,
A taut psychological thriller that doesn't waste a moment of its two-hour running time.
As bizarre as it is, Vincent's gradual estrangement from society is also easy to identify with, which makes Time Out especially compelling.
New York Times:
Together [Time Out and Human Resources] establish Mr. Cantet as France's foremost cinematic poet of the workplace.
Like its middle-aged protagonist, the film goes a little flabby in its center, but is kept compelling by the quirky charisma of Serge Lizrovet as a con man who comes to Vincent's aid, and the chameleonic smoothness of its star.
Cantet beautifully illuminates what it means sometimes to be inside looking out, and at other times outside looking in.
Los Angeles Times:
Time Out is not just an especially subtle and thoughtful psychological drama, it's a provocative, even an unnerving one as well.
Dallas Morning News:
A sad, visually stunning commentary on life in the new economy, Time Out does two things very well.
New York Observer:
Perhaps we should treasure Time Out for what it is, and preserve it just in case there will not be many movies like it in the future.
In its treatment of the dehumanizing and ego-destroying process of unemployment, Time Out offers an exploration that is more accurate than anything I have seen in an American film.
I admire the closing scenes of the film, which seem to ask whether our civilization offers a cure for Vincent's complaint.
From those first moments behind the windshield, Time Out draws you into its world of quiet deception.
A smoldering fireball of anguish and fury beneath its grave, chill facade.