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Based on 14 Reviews
critic reviews (10)
fan reviews ( )
  • 60
    Joe Neumaier New York Daily News

    This quiet drama is not for everyone. It may not even be for fans of Hungarian auteur Bela Tarr, whose spare, naturalistic films can be, well, trying. (The director has said that "Horse" will be his final film.) show more

  • 40
    Ray Bennett The Hollywood Reporter

    By this time, cinematographer Fred Kelemen's mostly stationary camera has revealed about all there is to see in a fine array of textures in such things as the wooden table, the rough floors, the walls of stone, the ropes on the horse and the skin on the boiled potatoes. That does not, however, make up for the almost complete lack of information about the two characters, and so it is easy to become indifferent to their fate, whatever it is. show more

  • 85
    Mark Jenkins NPR

    The Turin Horse is an absolute vision, masterly and enveloping in a way that less personal, more conventional movies are not. The film doesn't seduce; it commands. show more

  • 100
    V.A. Musetto New York Post

    A sumptuous masterpiece by one of the greatest moviemakers of all time. show more

  • 100
    Andrew Schenker Slant Magazine

    Béla Tarr is the cinema's greatest crafter of total environments and in The Turin Horse, working in his most restricted physical setting since 1984's Almanac of Fall, he (along with co-director Ágnes Hranitzky) dials up one of his most vividly immersive milieus. show more

  • 88
    Mark Feeney Boston Globe

    The Turin Horse is in a very gray black and white. It looks the same way it feels: bleak, pure, forbidding, transfixing. Watching it, frankly, can be a bit of an ordeal. There's hardly anything in The Turin Horse you would describe as entertaining, but there is a very great deal that's beautiful and absorbing. show more

  • 80
    Total Film

    Tarr risks self-parody with recurring scenes of the pair tucking into scalding potatoes, but if you've got the stomach for it this is an intoxicating vision of life at the end of its tether. show more

  • 40
    Joshua Rothkopf Time Out New York

    Even on its own limited, rigorous aesthetic grounds, there are far superior movies (including all of Tarr's own work). It's a sad way for the 56-year-old to go out, almost a caricature of his funereal mood and of art cinema in general. show more

  • 100
    A.O. Scott The New York Times

    The movie is too beautiful to be described as an ordeal, but it is sufficiently intense and unyielding that when it is over, you may feel, along with awe, a measure of relief. Which may sound like a reason to stay away, but is exactly the opposite. show more

  • 80
    Nick Pinkerton Village Voice

    An experience comparable to starting down the road with an empty sack then, over the course of the journey, having it weighed down steadily with rocks until you can't go on. But this backbreaking effect cannot be called an artistic failure. It is exactly what Tarr sets out to achieve. show more

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