| 100 |
Entertainment Weekly
Fred Leuchter is just one deluded figure, but by the end of this great and chilling sick-joke documentary he stands as a living icon of the banality of evil.
|
| 100 |
Chicago Sun-Times
More reverie and meditation than reportage.
|
| 100 |
Christian Science Monitor
Morris's unique blend of realism and surrealism gives the film great resonance as a portrait of one eccentric individual and, more important, a study of the morbid proclivities that run beneath the surface of our supposedly civilized society.
|
| 90 |
TNT RoughCut
Don Kaye
What's fascinating about Morris's riveting portrait is the notion that monsters can be born not just out of overwhelming evil, but pure egotism and stupidity -- much more mundane, yet still dangerous.
|
| 90 |
Chicago Reader
Using archly staged interviews and reconstructions that draw attention to the components of the documentary form, Morris does justice to the complexity of hot-button issues by suggesting several layers of subtext at once, portraying the articulate Leuchter as both rational and prone to rationalize.
|
| 89 |
Austin Chronicle
Seems more like a subtle, elegiac tone poem than an indictment of human banality and the evil that men do.
|
| 88 |
Miami Herald
Brings the viewer up close and personal with the face of evil.
|
| 88 |
USA Today
With his coolly objective moon's-eye view serving a story that's bizarre by even his long-established career standards, the great documentarian Errol Morris examines the perils of vanity - though others will understandably make more sinister interpretations.
|
| 88 |
New York Post
Morris' most gripping film since "The Thin Blue Line," is the year's scariest movie.
|
| 88 |
San Francisco Examiner
Segues from the merely quirky into the bizarrely unthinkable.
|
| 81 |
Mr. Showbiz
Lacks scope and doesn't resonate grandly as a portrait of an American underbelly like Morris' earlier works do. But it still packs a wallop.
|
| 80 |
TV Guide
Errol Morris' characteristically distanced documentary is empathetic without being especially sympathetic.
|
| 80 |
Time
The fascinating film equivalent of a humane execution.
|
| 80 |
Washington Post
Extraordinary documentary.
|
| 80 |
The New York Times
Morris, instead of evoking the solemnity that surrounds most films that touch on the Holocaust, has directed Mr. Death as the blackest of comedies.
|
| 80 |
Film.com
Morris seduces us into stepping into Leuchter's world of delusion and ego.
|
| 75 |
San Francisco Chronicle
(Morris's) strangest and most disturbing portrait yet.
|
| 70 |
Salon.com
A strange piece of work, perhaps closer to an imaginative portrait or an experimental fiction that borrows elements from real life than a traditional documentary.
|
| 70 |
Los Angeles Times
Mr. Death, which is shot through with one dark absurdity after another, emerges as a cautionary tale if ever there was one.
|
| 70 |
LA Weekly
Leuchter is such a riveting, disturbing and finally pathetic character that his story hardly needs embellishing with Morris' fancy visuals and ominous mood music.
|
| 70 |
Newsweek
Andrea C. Basora
At the heart of all Morris's films -- from "The Thin Blue Line" to "Fast, Cheap, and Out of Control" -- is a fundamental belief in the unreliability of truth.
|
| 70 |
Film.com
(Morris) sees Leuchter's story as more personal, more about one individual's self-absorption and folly, than an indictment of a particular system.
|
| 60 |
Village Voice
Morris, who more or less invented the ironic documentary, seems to struggle here for an appropriate tone even as he allows Leuchter more than enough rope to hang himself.
|
| 50 |
Slate
The director's beautiful detachment suggests a kind of cowardice.
|
| 50 |
Dallas Observer
An affecting film, but it just may not be everyone's cup of cyanide.
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