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Wesley Morris, Grantland: There's no point in explaining where all of this goes. But Petzold is in command of it. Read more
Farran Smith Nehme, New York Post: German director Christian Petzold has come up with a splendid work of mourning and melodrama in "Phoenix." Read more
Scott Foundas, Variety: Life is a bombed-out, soulless cabaret in Christian Petzold's Phoenix, a haunting portrait of identity, loss and the search for answers in post-WWII Berlin. Read more
Bill Goodykoontz, Arizona Republic: Hoss is perfect in a challenging role, a woman trying to recover bits of the person she once was, but having to do so in service to a greedy scheme that robs her of the very identity she is trying to recover. Read more
Ty Burr, Boston Globe: Like its heroine, "Phoenix" speaks low but with bitter clarity. Read more
Joe McGovern, Entertainment Weekly: The plot is just implausible enough to keep the film from greatness, but director Christian Petzold (Barbara) stirs up a powder-keg metaphor about rebuilding after war. Read more
Jordan Mintzer, Hollywood Reporter: Both a powerful allegory for post-war regeneration and a rich Hitchcockian tale of mistaken identity. Read more
Kenneth Turan, Los Angeles Times: "Phoenix" is an intoxicating witches' brew, equal parts melodrama and moral parable, that audaciously mixes diverse elements to compelling, disturbing effect. Read more
Rene Rodriguez, Miami Herald: The movie isn't a thriller, but it still generates a strange sort of emotional suspense - an incredibly intense drama that makes you hold your breath. Read more
Richard Brody, New Yorker: The cinematic equivalent of a page-turner, no more and no less. Read more
Ella Taylor, NPR: True to genre and to the history it peels back, Phoenix boldly offers us a war without heroes, only ghosts of broken people moving through a broken world, searching in vain for their former selves. Read more
A.O. Scott, New York Times: Mr. Petzold has made a suave and suspenseful entertainment that doesn't seem entirely sure that it wants to be - or is able to be - more. Read more
Steven Rea, Philadelphia Inquirer: There is intrigue. There is suspense. Guilt -- a man's guilt, a nation's -- hangs heavy in the air. Read more
John Hartl, Seattle Times: You may not buy all the story twists, but perhaps the script is not meant to be taken literally. Read more
David Lewis, San Francisco Chronicle: Sometimes implausible and always engrossing, "Phoenix" takes us to postwar Berlin, a shell of a city where concentration camp survivor Nelly is a shell of herself. Read more
J. Hoberman, Tablet: The movie is fluid, suspenseful, and preposterous-although, more historically than psychologically, and not necessarily in a negative sense. Read more
Nathalie Atkinson, Globe and Mail: Borrows tension, look and conventions from postwar film noir, and the Hitchcockian doubles, reversals and atmosphere of suspicion unbalance expectations of which character (if either) is cat or mouse. Read more
Stephanie Zacharek, Village Voice: So beautifully made that it comes close to perfect. Read more
David Edelstein, New York Magazine/Vulture: A haunting, morbidly romantic melodrama with obvious links to Vertigo, but from a reverse angle. Read more
Stephanie Merry, Washington Post: "Phoenix" takes its time and leaves us guessing until the final electrifying scene. Read more
Joe Morgenstern, Wall Street Journal: Beautiful and mysteriously powerful from beginning to end. Read more