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100The new Abbas Kiarostami film is called Ten, and in it something amazing happens: nothing.
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90The film offers a fascinating glimpse of the Iranian urban middle class, and though it eschews most of the pleasures of composition and landscape found in other Kiarostami films, it's never less than riveting.
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50The shame is that more accessible Iranian directors are being neglected in the overpraise of Kiarostami.
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88A film made by a master, with a simplicity that is really revolutionary. It's a work capable of changing the ways you look at the movies - and at life.
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100Iran's greatest filmmaker is fond of stripping personalities bare through conversations they have while riding in cars. Here he pushes his favorite dramatic device to its limit.
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83A glimpse into a society that has grown more open, more free, and also more casually selfish in its interpersonal aggression.
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90One of the year's finest movies, it's not quite the masterpiece that some of Kiarostami's cultists want it to be.
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80One of the best films to open so far this year, but greeting each new work from a favored director as if it were equally brilliant can't be good for anyone, the director included.
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50The already minimalist filmmaker has gone positively threadbare with Ten, a movie that feels as if there was no director on the set. For the most part, there wasn't.
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75Breezy, entertaining and enlightening.
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100The ultimate lesson in less-is-more cinema, an intimate and revelatory character study as well as a brilliant, almost symphonic rendering of the distracted, anxious, half-alienated and half-meditative state in which we spend vast amounts of our lives.
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100A minimalist film, Ten looks and feels like a documentary. At the end, there is no big denouement, but a profound realization that the people we see on camera are all aching for answers -- and struggling to come to terms with their lives.
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91There's no doubt that Kiarostami is giving us a lesson in social politics, but the education lies in the mosaic pieced together from conversations and situations.
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90Nobody handles unvarnished interactions quite the way Kiarostami does, and for much of Ten, it's a kind of austere thrill to watch him focus so intently on one aspect of his craft.
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75Ten may strain your patience but that's the high-stakes gamble of this provocative project.
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90A work of inspired simplicity.
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80Inexpensively shot on digital video, it's an invaluable work of art.
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9010 dazzling and perceptive snapshots of women with which femmes everywhere can identify.
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90Conceptually rigorous, splendidly economical, and radically Bazinian.
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90Kiarostami has been hailed as the premier humanist filmmaker at work in a larger Iranian cinematic renaissance, and all his formal signatures are on view here -- the small, intimate canvas, the loose, improvised air of the performances, the absence of an authoritarian directorial hand.
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90Shows us, in an extraordinarily simple way, the hopes and frustrations of one woman's life.