| 100 |
Christian Science Monitor
Enriched by allusions to biblical stories of fathers, sons, and sacrifices, subtly woven into the movie's moodily photographed fabric.
|
| 100 |
Entertainment Weekly
Can be interpreted politically or even biblically or not at all, as the elemental struggles between dominance and submission, impulse and action, man and nature, father and son, play out to their stunning conclusion.
|
| 100 |
Los Angeles Times
While most films are fortunate if they succeed on any level, The Return works easily on several, making as powerful a mark emotionally as it does visually and even allegorically. Yet the film so catches you up in its compelling story, you're almost not aware of how masterful a piece of cinema you're watching.
|
| 100 |
Chicago Tribune
The Russian film The Return is a stunning contemporary fable about a divided family in the wilderness - a simple, riveting film that almost achieves greatness.
|
| 90 |
Chicago Reader
Beautifully structured and emotionally wrenching.
|
| 90 |
Washington Post
Mark Jenkins
A haunting Russian art film with the economy of a thriller.
|
| 90 |
Washington Post
It's not the sort of film one can be said to enjoy, but it is the sort of film that has the clarity of a dream and lingers for hours.
|
| 90 |
Wall Street Journal
A film that asks its audience to invest serious thought, and in return, bestows serious pleasure.
|
| 90 |
The New Yorker
It is the first film to be directed by Andrey Zvyagintsev, and what it shares with other coruscating débuts, from “The Four Hundred Blows” to “Badlands,” is a sense that it HAD to be made. There is a controlled wildness at the heart of such movies, whose narratives ask to be handled as delicately as explosives. [15 March 2004, p. 154]
|
| 90 |
LA Weekly
The true mystery is the journey itself, which will turn out to be one of the most spiritually enervating, and elevating, Outward Bound courses ever undertaken.
|
| 90 |
The Hollywood Reporter
At once a powerful psychological thriller and a haunting allegory, The Return marks an auspicious feature debut for helmer Andrey Zvyagintsev.
|
| 90 |
The New York Times
At once highly naturalistic and dreamily abstract, playing out its mythic themes through vibrantly detailed characterizations (and remarkable performances by the entire cast). The Return announces the arrival of a major new talent.
|
| 89 |
Austin Chronicle
This is nobody's idea of a happy family story, but it is a pristinely chilling depiction of familial meltdown in a post-Stalinist, Twilight Zone anti-place, the dark heart of heartlessness and mysterious parenting techniques.
|
| 88 |
Miami Herald
Many questions remain purposely unanswered: Where was the father for 12 years? Why did he want to go away with the kids? What's in a box he finds hidden in the island? Yet, in a remarkable ending, the boys discover their feelings.
|
| 88 |
Boston Globe
Filmed with a cold, poetic beauty, The Return slowly strips away motivation until it arrives at a place of myth both private and oddly universal.
|
| 88 |
New York Daily News
A haunting, melancholy work.
|
| 88 |
New York Post
Vladimir Garin and Ivan Dobronravov are amazingly natural as the boys, and Konstantin Lavronenko impresses as the taciturn father.
|
| 80 |
New York Magazine
The hurt and rage flying back and forth have primal power, like Russian-flavored Eugene O'Neill. It's rare for a movie to work as effectively as this one does on such parallel tracks.
|
| 80 |
Variety
Constructed like an eerie, metaphorical thriller, this tense, riveting character study offers viewers nearly two hours of emotions with a stunning pay-off no one will be expecting.
|
| 80 |
The Onion (A.V. Club)
In its dramatic shift from the real to the allegorical, the ending of Andrey Zvyagintsev's auspicious debut feature The Return is likely to leave many viewers scratching their heads.
|
| 80 |
Empire
David Hughes
Garin’s performance is just one of the note-perfect elements in The Return -- unfussy acting, unhurried direction, sublime cinematography and low-key music -- which conspire to draw the audience into a deceptively simple story with numerous hidden depths.
|
| 75 |
Chicago Sun-Times
It is a Kafkaesque story, in which ominous things follow one another with a certain internal logic but make no sense at all.
|
| 70 |
TV Guide
Actor-turned-director Andrey Zvyagintsev's feature debut is haunted by an elusive past and suffused with dread about the future, and it's all suggestion without explanation.
|
| 70 |
Village Voice
Primordial and laconic, this remarkably assured debut feature has the elegant simplicity of its title.
|
| 63 |
Premiere
Unfortunately, the reach of The Return exceeds its grasp, and so this film of gruffly beautiful images didn't put a hook in me the way Zvyagintsev so ardently seems to want it to. [March 2003, p. 27]
|
| 63 |
The Globe and Mail (Toronto)
Oh, it's The Return, all right. To any masochist who's been pining for all those clichéd tropes associated with Russian cinema -- ponderous pacing and arcane symbolism shot through a lens darkly -- this will seem a welcome blast from the past.
|
| 60 |
Film Threat
Staff (Not credited)
With exceptional performances and extraordinary imagery, Zvyagintsev has fashioned a remarkable first feature.
|
| 50 |
The New Republic
Still, it never quite realizes the oneiric quality because, paradoxically, of its best achievement--the performances of the two boys. They are vital, insistent. Their beings contradict the dreaminess and make us ask the questions mentioned above.
|
| 50 |
San Francisco Chronicle
A tense, expertly acted Russian film clouded by its intentional ambiguity.
|
| 50 |
Baltimore Sun
Strip away the portentous style and lush views of nature in The Return and all you've got is a slender nightmare of a family gone haywire in an outing that turns into survival camp.
|
