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reviews

77
Based on 20 Reviews
critic reviews (10)
fan reviews ( )
  • 80
    Joe Morgenstern Wall Street Journal

    What works best is what's readily accessible, the startling power of performers who understand the drama all too well. show more

  • 70
    David Rooney The Hollywood Reporter

    This is a looser, grittier film than their work of late, and while it’s more successful in the sequences of bold theatricality than in the faux-cinéma vérité of the surrounding scenes, the mix is nonetheless an interesting one. show more

  • 80
    Bob Mondello NPR

    The Taviani brothers, Paolo and Vittorio, have been blurring the line between reality and fiction in their films for six decades. show more

  • 100
    Farran Smith Nehme New York Post

    Such is literature’s power that the cast is more at ease portraying ancient Romans than speaking as versions of themselves. show more

  • 75
    Rick Groen The Globe and Mail (Toronto)

    Not surprisingly, prison must be the perfect incubator of sadness and anger, because every one of the “performances” is astonishingly vivid. At the extremes of the emotional spectrum, at least, these guys are brilliant. show more

  • 75
    Slant Magazine

    Deceptively modest on nearly all accounts, Paolo and Vittorio Taviani's Caesar Must Die employs seemingly minor directorial contrivances to ruminate on a unique quarrel. show more

  • 80
    Tom Dawson Total Film

    “Ever since I discovered art,” laments one participant, “this cell has truly become a prison.” show more

  • 60
    Patrick Peters Empire

    A hit in Berlin, the Taviani siblings' documentary has plenty of wit and punch, although compared to the best of the medium - "Man On Wire," for instance - it sometimes comes off as guileless and clunky. show more

  • 60
    Peter Bradshaw The Guardian

    The most powerful thing about the film is the "audition" scene at the beginning in which the prisoners have to introduce themselves in two ways: sorrowingly, and then angrily. It is a brilliant sequence, and the rest of the film doesn't quite match it. show more

  • 40
    Keith Uhlich Time Out New York

    Though the Tavianis’ intent is clear—to comment on the thin line separating part and performer, as well as on the quite literally liberating powers of art—the meanings rarely emerge with any elegance or resonance. Hardly a dish fit for the gods. show more

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