93% Amour

All Critics (163) | Top Critics (44) | Fresh (151) | Rotten (12)

Trintignant perfectly captures the resolve that eventually borders on obsession, as the woman he loves gradually, maddeningly, disappears before his eyes, and he does whatever he can to prevent it, though he knows it's impossible.

Many viewers will find echoes of their grandparents, parents, or even themselves in these characters.

A movie that is utterly worthy of its all-encompassing title.

The resulting interplay of ruthless restraint and unavoidable passion, plus the film's refusal to shrink from depicting the inevitable horrors of physical deterioration, is devastating.

In many ways it's the best horror film I've ever seen. At the same time, it's hard to recommend; I believe I will be struggling to forget this film as long as I live. I doubt I'll succeed.

As remarkable as Haneke's films are, not a one has been as transcendently generous as Amour, which is nominated for five Academy Awards, including best picture, best director and best foreign-language film.

Amour is a pure depiction of love, in all its many forms.

The furthest thing from sweet sorrow imaginable, Amour gets real about the pain of parting in every sense of the word.

This subject matter is ripe for sentimentalization, but Haneke resists it at every turn, opting instead for unflinching honesty. It is the economy of theme paired with the subtle richness of character that make Amour so powerful.

Clearly, Amour, Michael Haneke and Emmanuelle Riva don't really need me to additionally sing their praises (although praise is indeed all I have), so let's discuss Jean-Louis Trintignant for a moment.

All is presented in Haneke's exacting style, one that I find controlling and a bit, well, smothering.

An insightful, memorable film about what it means to love.

A tale about love at its most terribly, backbreakingly difficult.

In many ways, it's a horror film, as the woman descends into helplessness, and - like the audience - the man can only watch. It's a potent piece of filmmaking.

The superb Trintignant and the Oscar-nominated Riva -- who would win, in a just world -- embody once-vigorous people in inevitable decline.

For Haneke, love is just another curious human trait to be dissected and used as a tool to disquiet his audience.

A poignant tale of undying love!

Beautifully acted and unflinching, Amour goes where few movies have the courage to

Riva's performance is undeniably magnificent, as she must chart every step of Anne's physical and mental deteriorating with exacting precision.

Sadly effective, with two standout performances.

Death, illness and tragedy transcend demographics, and the characters in "Amour" are all of us in the end.

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

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