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Breaking The Waves

EMAILPRINTOctober Films

Breaking The Waves reviews
76
8.0 User Score:

Generally favorable reviews

Based on 25 critic reviews
How did we calculate this?

Based on 20 votes
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Movie Info

Genre(s): Foreign

Written by: Lars von Trier

Directed by: Lars von Trier

Release Date:
Theatrical: November 13, 1996
DVD: July 25, 2000

Running Time: 158 minutes, Color

Origin: Denmark / Sweden / France / Netherlands / Norway

Summary

RATING: R for strong graphic sexuality, nudity, language and some violence

Starring Emily Watson, Stellan Skarsgård, Katrin Cartlidge, and Jean-Marc Barr

Set in a remote coastal village in northern Scotland, this is the extraordinary tale of a young woman's love and devotion to her husband, recently paralyzed in an oil rig accident.

What The Critics Said

All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...

100

Entertainment Weekly Owen Gleiberman

True art is a journey to somewhere you've never been, and there has never been a movie quite like Breaking the Waves.

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100

San Francisco Chronicle Peter Stack

One of the most haunting and vital movies of the year.

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100

Chicago Sun-Times Roger Ebert

Not many movies like this get made, because not many filmmakers are so bold, angry and defiant.

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100

New York Daily News Dave Kehr

One of the most emotionally devastating movies of the decade.

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100

Mr. Showbiz F. X. Feeney

Not only one of the best films of the year, it's one of the best films of the decade.

100

Chicago Tribune Michael Wilmington

A movie about the passions of simple people, and it's done with such extraordinary empathy and commitment that it all but pulls you under. [29 November 1996, Friday, p.A]

90

Variety Staff (Not credited)

Watson is a major find as Bess. Graced with delicate, expressive features, she gives an extraordinary performance.

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90

The Onion (A.V. Club) Keith Phipps

What Von Trier arrives at is a complex, contemporary, and deeply moving exploration of faith.

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90

The New York Times Elvis Mitchell

A narrative path leading from the sincere to the ludicrous, and culminating in a final image of flabbergasting transcendance, gives Breaking the Waves its surprising power.

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90

Rolling Stone Peter Travers

"Waves" is a spellbinder.

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90

Newsweek David Ansen

There are few movies around that take such huge risks: this is high-wire filmmaking, without a net of irony.

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89

Austin Chronicle Russell Smith

With this artlessly profound and affecting story of love, von Trier emerges as one of those blessed filmmakers who've managed to blend their early stylistic flamboyance with enough human empathy to make their work both visually and emotionally compelling.

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88

ReelViews James Berardinelli

If not for a somewhat forced catharsis during the epilogue (the weakest segment of the movie), Breaking the Waves would have been more wrenching than it is.

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80

TV Guide Staff(not credited)

A trying, contrary mix of religion and carnality that teeters on the verge of preposterous self-indulgence.

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80

Time Richard Corliss

In its pagan fervor, this is an almost religious experience.

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80

New Times (L.A.) Andy Klein

This is a dark, often funny walk through Ingmar Bergman turf.

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80

Film.com John Hartl

This long, sometimes hard-to-watch movie is a challenge, but it has authority and raw power.

70

Chicago Reader Jonathan Rosenbaum

You won't come out of it indifferent, and even if it winds up enraging you (I could have done without most of the ending myself), it nonetheless commands attention.

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70

Film.com Tom Keogh

Whether or not Breaking the Waves succeeds as a profound work is something that's hard to say after one viewing, but it is certainly a wholly original piece of work.

60

Slate Sarah Kerr

Audiences are likely to embrace Breaking the Waves as something rare and fierce and innovative, a passport into the depths of passion, but some people will reconsider when they get home.

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50

Los Angeles Times Kenneth Turan

Shallow where it would be meaningful, demanding leaps of faith it has not earned, this film's marriage of arresting technique to empty thinking is not unique, only frustrating.

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50

USA Today Mike Clark

The longer the movie drones on, the queasier it gets. [6 June 1997, Life, p.3D]

40

Film.com Keith Simanton

It was a bleak allegory -- a desperate, sullen, and moderately sick tale.

30

The New Republic Stanley Kauffmann

For this mortal, the film converts piety into pathology and then converts it back again at the end with a Song of Bernadette conclusion. I don't know what the title means. I do know that this ridiculous film won the Grand Jury Prize at the 1996 Cannes Film Festival.[ Dec. 9, 1996]

30

Washington Post Desson Thomson

Although it contains many visually compelling passages and some provocative moments, the movie is strangely banal and simplistic.

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What Our Users Said

The average user rating for this movie is 8.0 (out of 10) based on 20 User Votes

Note: User votes are NOT included in the Metascore calculation.

Jay H gave it a7:
Emotionally, the film is devastating, and it is certainly not a cheery movie. The performances are rich and deep, Emily Watson is amazing. I was a bit disappointed in the ending however, but it is a very well crafted film.

Laura G gave it a10:
You just can't close your mouth once the movie has finished.

antoñete gave it a10:
Unforgettable masterpiece with a masterclass perfomance by Emily Watson as Bess McNeill.

Pat C. gave it a9:
This ambitous film goes exactly where it wants to, but the editing is a bit generous, always an indicator that a film may be taking itself too seriously. Some of the enabling characters take on stereotypical tones, and the entire plot hangs tenuously on a damning indictment of freighter captains. The shift at the end from actuality to religious allegory is a bit of a push. An obviously flawed movie, but remaining brilliantly undiminished because of its realistic portrayal of community chaos from too much order imposed by and upon the dysfunctional. The film is startling in its splendid acting, eclectic musical interludes, surreal cinematography, and powerful character development. Definitely not a film for all tastes, but dead on for those who have found life to work that way.

Brody C gave it a10:
This was an incredibly powerful movie that made me feel so uncomfortable in places. Emily Watson should have gotten the oscar that year because this is a brilliant performace. She carries the film from good to brilliant.

Giulia gave it a9:
Long and sad. i like it.

Yoon C. gave it a 1:
This should be called 'breaking the ba**s'. trier tries so hard to be bold, original, daring, outrageous, and cutting-edge while utterly failing to realize his brand of primitivism's capacity to shock, enliven, or inspire is about 70 yrs too late. trier confuses crudeness for vitality, haphazardness for audacity, and clumisness for truth. rub our faces in the sewage of retardo emotions and, hey, maybe we'll be cleansed of bourgeois hypocrisy and b.s... stick with imamura instead, who while dragging us thru the mud of life, also had the necessary discipline of means and concentration of vision to allow meaning to evolve and crawl out of the primordial soup of human experience. von trier's films are ultimately all about his infatuation with his punkish rebel self. boring! that so many critics suck up to him is proof that they are geeky rebel-wanna-be's themselves.

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