Metascore
80

Generally favorable reviews - based on 14 Critics

Critic score distribution:
  1. Positive: 11 out of 14
  2. Negative: 0 out of 14
  1. Reviewed by: V.A. Musetto
    Feb 10, 2012
    100
    A sumptuous masterpiece by one of the greatest moviemakers of all time.
  2. Reviewed by: A.O. Scott
    Feb 9, 2012
    100
    The movie is too beautiful to be described as an ordeal, but it is sufficiently intense and unyielding that when it is over, you may feel, along with awe, a measure of relief. Which may sound like a reason to stay away, but is exactly the opposite.
  3. Reviewed by: Scott Tobias
    Feb 8, 2012
    100
    The Turin Horse has a burnished beauty that's awe-inspiring, like a clear window into a faraway world as it dangles, and then falls, off the precipice.
  4. Reviewed by: Andrew Schenker
    Feb 3, 2012
    100
    Béla Tarr is the cinema's greatest crafter of total environments and in The Turin Horse, working in his most restricted physical setting since 1984's Almanac of Fall, he (along with co-director Ágnes Hranitzky) dials up one of his most vividly immersive milieus.
  5. Reviewed by: Mark Feeney
    Jun 28, 2012
    88
    The Turin Horse is in a very gray black and white. It looks the same way it feels: bleak, pure, forbidding, transfixing. Watching it, frankly, can be a bit of an ordeal. There's hardly anything in The Turin Horse you would describe as entertaining, but there is a very great deal that's beautiful and absorbing.
  6. Reviewed by: Mark Jenkins
    Feb 15, 2012
    85
    The Turin Horse is an absolute vision, masterly and enveloping in a way that less personal, more conventional movies are not. The film doesn't seduce; it commands.
  7. Reviewed by: Sam Wigley
    May 26, 2012
    80
    Tarr risks self-parody with recurring scenes of the pair tucking into scalding potatoes, but if you've got the stomach for it this is an intoxicating vision of life at the end of its tether.
  8. Reviewed by: Betsy Sharkey
    Mar 1, 2012
    80
    Starkly beautiful and exceedingly demanding, The Turin Horse, which Hungarian master Béla Tarr has said will be his last film, is both easy and impossible to define.
  9. Reviewed by: Nick Pinkerton
    Feb 7, 2012
    80
    An experience comparable to starting down the road with an empty sack then, over the course of the journey, having it weighed down steadily with rocks until you can't go on. But this backbreaking effect cannot be called an artistic failure. It is exactly what Tarr sets out to achieve.
  10. Reviewed by: Peter Debruge
    Feb 3, 2012
    80
    Though ripe for metaphorical interpretation, the slender setup, about the fate of a horse seen beaten in the streets, gives arthouse audiences little to cling to, and will provide institutional and fest programmers a test-of-wills head-scratcher for their calendars.
  11. Reviewed by: Andrew O'Hehir
    Feb 9, 2012
    70
    I left the theater oddly exhilarated - to see daylight again was so great! - and, odder still, eager to see it again (although perhaps not today). Tarr's films can be arduous, even wrenching, but they're not boring. Watching them is something like visiting the world's most fantastic art museum and taking an ice-cold shower, both at the same time.
  12. Reviewed by: Joe Neumaier
    Feb 9, 2012
    60
    This quiet drama is not for everyone. It may not even be for fans of Hungarian auteur Bela Tarr, whose spare, naturalistic films can be, well, trying. (The director has said that "Horse" will be his final film.)
  13. Reviewed by: Joshua Rothkopf
    Feb 7, 2012
    40
    Even on its own limited, rigorous aesthetic grounds, there are far superior movies (including all of Tarr's own work). It's a sad way for the 56-year-old to go out, almost a caricature of his funereal mood and of art cinema in general.
  14. Reviewed by: Ray Bennett
    Feb 3, 2012
    40
    By this time, cinematographer Fred Kelemen's mostly stationary camera has revealed about all there is to see in a fine array of textures in such things as the wooden table, the rough floors, the walls of stone, the ropes on the horse and the skin on the boiled potatoes. That does not, however, make up for the almost complete lack of information about the two characters, and so it is easy to become indifferent to their fate, whatever it is.
User Score
8.1

Universal acclaim- based on 20 Ratings

User score distribution:
  1. Positive: 2 out of 3
  2. Mixed: 0 out of 3
  3. Negative: 1 out of 3
  1. Sep 2, 2012
    8
    I don't agree with Cabrita, but maybe just 'cause i've been watching a lot of Tarr's movies, this is the last (or so he said) and so the end, and what an end (of the world).
    I personally prefer other movies of his, Satantango and Werkmeister Harmonies are some of those, but this is still a good one
    Full Review »
  2. Mar 3, 2013
    7
    I had a problem with its symbolic aesthetics, since it rarely provides opportunities for self-reflective projection. However, it can't be denied that this is beautiful trademark work of the master who made Satantango. Full Review »
  3. Jul 5, 2012
    3
    His use of mise en scene and film noir are great however technique on it's own does not add up to anything. I can appreciate art house films however this is simply bad art. It did not entertain my intellect by exploring themes nor did it entertain me on a manipulative level. This is where I differ with the critics they believe the film gave you a sense of awe, I believe the film gave me a sense of boredom. I have also seen the man from London which was also garbage. I'm going to give Tarr one more chance with Werkmeister Harmonies. Full Review »