Metascore
86

Universal acclaim - based on 21 Critics

Critic score distribution:
  1. Positive: 19 out of 21
  2. Negative: 0 out of 21
  1. 100
    The new Abbas Kiarostami film is called Ten, and in it something amazing happens: nothing.
  2. The 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.
  3. 50
    The shame is that more accessible Iranian directors are being neglected in the overpraise of Kiarostami.
  4. A 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.
  5. Iran'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.
  6. A glimpse into a society that has grown more open, more free, and also more casually selfish in its interpersonal aggression.
  7. 90
    One of the year's finest movies, it's not quite the masterpiece that some of Kiarostami's cultists want it to be.
  8. One 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.
  9. The 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.
  10. 75
    Breezy, entertaining and enlightening.
  11. 100
    The 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.
  12. A 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.
  13. There'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.
  14. 90
    Nobody 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.
  15. Ten may strain your patience but that's the high-stakes gamble of this provocative project.
  16. A work of inspired simplicity.
  17. Reviewed by: Ken Fox
    80
    Inexpensively shot on digital video, it's an invaluable work of art.
  18. Reviewed by: Deborah Young
    90
    10 dazzling and perceptive snapshots of women with which femmes everywhere can identify.
  19. 90
    Conceptually rigorous, splendidly economical, and radically Bazinian.
  20. 90
    Kiarostami 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.
  21. Shows us, in an extraordinarily simple way, the hopes and frustrations of one woman's life.
User Score
8.2

Universal acclaim- based on 15 Ratings

User score distribution:
  1. Positive: 4 out of 4
  2. Mixed: 0 out of 4
  3. Negative: 0 out of 4
  1. Aug 16, 2010
    8
    After the first conversation, the relationship between mother and son was well established; the film would have been stronger if the son hadn't shown up as much, especially since every other character was far more fascinating. Touching and intelligible, if not, at times, trying. Full Review »