92% Amour

All Critics (104) | Top Critics (25) | Fresh (95) | Rotten (8)

Old age isn't for sissies, and neither is this film.

A wrenching film that is sure to bring tears -- a lot of tears -- to your eyes and manages, in many ways, to affirm that love is worth sharing and life is worth living even in the most final of days.

There have been many invasions in Haneke's work, and there is indeed an attempted break-in at the start of this film, but nothing compares with the looming approach of mortality.

Haneke ("Funny Games," "Cache," "The Piano Teacher," "White Ribbon") has tackled a difficult subject that is unpleasant to watch, more unpleasant to think about. But the 70 year-old filmmaker has done it with taste, discretion and sympathy.

Amour might seem hardly the stuff of entertainment, yet the reason it has been acclaimed isn't mysterious. Confronting death, it studies life, closely and lovingly.

The most brutally honest picture ever made about growing old and wasting away.

The story is heart-breaking in its honest depiction of life near the end.

The film has been declared a masterpiece by many, and yet the director's inability to put aside his usual chilly remove encases "Amour's" protagonists under glass.

Haneke, a master of icy appraisal, here contemplates an elderly Parisian couple at the very end of their lives.

An examination of life and death, this minimalist film succeeds on all levels.

On paper it's a welcome change of pace for Haneke, but his tendency to treat the couple as patients rather than characters -- at a cold remove rather than with a warm embrace -- feels at odds with the material.

The film's power stems from the way Haneke avoids milking the viewer's sympathy.

Amour is just as likely to put someone to sleep as it is to win high-brow praise.

Intimate, admirable and elegant, it's, nevertheless, demanding, deliberate and depressing - about facing our own mortality.

A film so honest in dealing with end-of-life issues that its purity is a positive rebuke to all the maudlin movies on the subject.

Gains its power from grounding its characters' pain in something humanistic.

Source: http://www.rottentomatoes.com/m/771307454/

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