User Score
7.8

Generally favorable reviews- based on 196 Ratings

User score distribution:
  1. Negative: 16 out of 196

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  1. Jul 14, 2013
    0
    Sweet Jesus, the only one that deserves an award is the audience, and being able to sit through this without...falling........asleeeeeppppp....
    This movie is completely lifeless, void of any dynamic, the characters are far more boring than anyone can ever be in real life, and you will have a hard time not wishing for them to just die so the movie can end. I am not sure who exactly is
    sitting on that Cannes jury, but they seem to have forgotten that the one main element that makes a movie good is whether or not the audience is entertained. Expand
  2. Mar 3, 2013
    1
    It’s alarming to see how savvy some filmmakers are becoming at knowing just what material and what “spin” will gain them big critical jackpots and festival jury prizes. "Amour" is a case in point and suggests that the line between demographic-massaging advertising agencies and shrewd, cachet-hunting filmmakers is diminishing at an alarming rate. The film is basically a genteel “infomercial” that argues the case for euthanasia; it's an highly aggressive, in-your-face exercise and a very ONE-NOTE, highly aggressive, in-your-face exercise..........What it also has “going for it” in some circles at any rate- is the Jerry Springer-like touch of casting two well known stars of yesteryear, now in their 80s, in the lead roles. This brings an eerie Reality TV touch to the proceedings and something of a “frisson nouveau” to your card-carrying film buff audience (the demographic-massaging angle) Think how much, by way of comparison, the casting two relative unknowns would have affected the film’s reception...... In Teen Speak it would have been …..“B-O-R-R-R-I-N-G !!!”

    Jean-Louis Trintignant in particular struggles to breath life into the sparse characterization that writer/director Haneke has provided for him. However his efforts are in vain, for the forces of “infomercial-hood” are aligned against him here and (even more artistically crippling) Haneke’s somewhat gleeful penchant for the morbid. This latter holds sway as his camera zooms in to capture every detail of the physical and mental disintegration of Trintignant‘s wife (the now 85-year-old star of "Hiroshima Mon Amour" Emmanuelle Riva.) Indeed, Riva’s character soon becomes a sort of laboratory specimen that Haneke is studying intently under the microscope “I wonder what will “go” next he seems to be asking himself, pencil in hand with the result that The Wife (which is the sort of generic entity that Riva is finally reduced to) ends up becoming disconcertingly like that giant bug that Gregor Samsa turns into in Kafka’s "The Metamorphosis" By contrast, one wonders what Jean Renoir or Douglas Sirk would have done with this material. The fact that Riva’s character is not particularly sympathetic to begin with only adds to the uneasiness- indeed, queasiness- we end up experiencing as we’re invited to observe the spectacle of her relentless undoing....... Sad to say, by that point in the film either this latter studying-the-bug-under-the-microscope sensation or else flat out boredom seem to be our only options. "Amour" is an award-winning and highly pretentious film and the two go together much too often for comfort these days.
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  3. Mar 2, 2013
    1
    haneke's "white ribbon" was magnificent. deserved every accolade. 'amour', mais non. emmanuelle riva, oui. very, very overrated film, especially in comparison the haneke's earlier work. pretty much a big yawn.
  4. Feb 4, 2013
    4
    This movie is quite drawn-out and boring. The story being told provides you no reason to care about either of the main characters or to relate in any way to them. Not worth the two hours.
  5. Feb 2, 2013
    3
    I enjoy "slice of life" movies but this one was just too much. The acting is fantastic, first-rate, rarely better. The plot is sort of familiar, elderly couple, long term marriage, one gets very sick before the other, and the movie focuses how the less ill spouse manages the more ill spouse. The movie begins with the unsurprising end, then painstakingly drags us down every dark hallway, bathroom kitchen, art museum, and on and on and on and on.......ad infinitum. The directors propensity to freeze shots, bereft of activity, meaning, or purpose, that seem endless. Not clear what he is trying to accomplish, what message he is trying to send, short of a veneer of seriousness or agony (in this case, of the viewer). This film is flat out boring and even incredible acting cannot bail it out. Expand
  6. Feb 2, 2013
    4
    Just another reminder to myself to look beyond rave reviews.

    PROS: Strong actors. A cultured, music-filled context for the story.

    CONS: The characters are simply not interesting or compelling people. We were led to believe that something "deep" was going on because of so much silence and empty space in the film. The male lead appropriately and scornfully dismissed a careless nurse,
    but did not treat his wife that well himself. While it's true that sometimes silence can be profound, it's also true that silence can be empty. Some films use sadness and space to communicate important and useful messages. This film was just a container for sadness and space. RECOMMENDATION: Don't go. Expand
  7. Feb 2, 2013
    2
    Amour is certainly not the worse film of the year. It is without a doubt the most boring. There are too many slow, silent and flat out wasteful scenes taking forever to complete. The worse part was all the times throughout the film were literally nothing is happening. This just sucks the emotion out of the entire movie.
Metascore
94

Universal acclaim - based on 44 Critics

Critic score distribution:
  1. Positive: 42 out of 44
  2. Negative: 0 out of 44
  1. Reviewed by: Mike Scott
    Feb 16, 2013
    80
    Amour is a far cry from the warm-and-fuzzy version of love that most people are probably looking for on Valentine's Day. This movie is more of a slap than a hug. But reality hurts sometimes - just like love does.
  2. Reviewed by: Lawrence Toppman
    Feb 13, 2013
    88
    The superb Trintignant and the Oscar-nominated Riva – who would win, in a just world – embody once-vigorous people in inevitable decline. Yet as another critic has said, the film is sad without being depressing.
  3. Reviewed by: Steve Persall
    Feb 13, 2013
    100
    With Amour, it's the rare feeling of watching a masterpiece unfold.