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Reviews provided by RottenTomatoes
Michael Wilmington, Chicago Tribune: A poetic look at transience, betrayal, loss and doom. Read more
Susan Stark, Detroit News: Read more
Glenn Lovell, San Jose Mercury News: If this all sounds terribly melodramatic, that's because it is. Read more
Geoff Pevere, Toronto Star: It's as though we're being dared not to take the movie seriously, although nothing but the pre-Holocaust setting compels you to do so. Read more
Elvis Mitchell, New York Times: It's all big moments, the world's longest and most sincere trailer. Read more
John Zebrowski, Seattle Times: We're never offended by any of this -- we're never exactly enthralled, either. Read more
Louis B. Parks, Houston Chronicle: Has a good story; a lush, tantalizing style and tone; and an excellent cast. Read more
Owen Gleiberman, Entertainment Weekly: There's only one performer in the movie who looks completely at ease with what he's doing: the horse. Read more
Kevin Courrier, Globe and Mail: Potter eschews drama for posing, politics for postulating, and provides enough symbolic broad strokes to gag a magic realist. Read more
Jan Stuart, Newsday: Suzie and Cesar are essentially reactive characters, as much victims of underwriting as they are of persecution. Read more
Andrew Sarris, New York Observer: Read more
James Berardinelli, ReelViews: A mixed bag -- reasonably well-made and of some interest, but not the kind of movie to truly engage the viewer. Read more
Roger Ebert, Chicago Sun-Times: If [Potter] personally, in her 40s, can go to Argentina and become a tango dancer, then we can't complain about anything that happens to Suzie. Not that we'd want to. Read more
Mick LaSalle, San Francisco Chronicle: Potter's cinematic vision is what makes The Man Who Cried shimmer and levitate. Read more
Andy Seiler, USA Today: If only all this effort had all been expended on a worthier endeavor. Read more
J. Hoberman, Village Voice: Gives bad movies a good name. Read more