Last Temptation of Christ, The

Chicago Sun-Times Roger Ebert

Here is a film that engaged me on the subject of Christ's dual nature, that caused me to think about the mystery of a being who could be both God and man. I cannot think of another film on a religious subject that has challenged me more fully. The film has offended those whose ideas about God and man it does not reflect. But then, so did Jesus.

TV Guide Staff (Not Credited)

Powerful, haunting, and at times very moving, The Last Temptation of Christ presents its account of the events and conflicts of Christ's life with a depth of dramatized feeling and motivation that renders them freshly compelling.

USA Today Mike Clark

The crucifixion is the strongest such scene of all time. [26 Aug 1988]

The Onion (A.V. Club) Keith Phipps

The power to provoke may not always have a smoke-to-fire relationship with greatness but with Scorsese's film, a testament of faith that leaves in the question marks, it undeniably does.

Time Staff (Not Credited)

In an age of post-Christian facetiousness, Martin Scorsese's work daringly attempts to restore passion and melodrama to the Gospel story. Protests notwithstanding, the film is an affirmation of faith in the power of both the Gospel and the movies.

Variety Staff (Not Credited)

A film of challenging ideas, and not salacious provocations, The Last Temptation of Christ is a powerful and very modern reinterpretation of Jesus as a man wracked with anguish and doubt concerning his appointed role in life.

Los Angeles Times Sheila Benson

It would seem impossible that anyone looking into the heart and the clear intent of the film would fail to see Scorsese's passion for his subject. And if our world is becoming so dangerously constricted that we're forbidden even to look, that is something we should all worry about. [12 Aug 1988, p.1]

Chicago Tribune Gene Siskel

Dafoe manages to draw us into the mystery, anguish and joy of the holy life. This is anything but another one of those boring biblical costume epics. There is genuine challenge and hope in this movie. [12 Aug 1988, p.A]

The Globe and Mail (Toronto) Jay Scott

Scorsese and Schrader have made a courageous film that people of all religions or no religion should be able to watch with identical fascination. [10 Aug 1988. pg. C.4]

Wall Street Journal Julie Salamon

Mr. Scorsese has created a Judea that is dusty and harsh, where visions in the middle of a night seem like. Some of the visual compositions are dizzyingly beautiful; the Crucifixion scene couldn't be more masterful, or heartbreaking. [11Aug 1988, p.1]

Empire Kim Newman

This was controversial at the time and that put alot of people off, believing that the film was probably all hype, but this is a respectful and complex work of fiction around the concepts of the biblical character and his life.

San Francisco Chronicle Don Lattin

If you are a thoughtful, open-minded person see this reverent exploration into the mystery of Jesus, the man.

Boston Globe Jay Carr

It could have been shorter, some of its exchanges misfire, but I respect The Last Temptation of Christ, and I'm much more for it than against it. It's the most spiritual biblical movie of our times. [2 Sep 1988, p.25]

Washington Post Desson Howe

Temptation is visually and aurally stupendous. But the most obvious strength in this commendably bold project is Willem Dafoe's performance as Jesus.

Washington Post Hal Hinson

The Last Temptation of Christ, Martin Scorsese's provocative, punishing, weirdly brilliant adaptation of Nikos Kazantzakis' novel, has a feverish intensity. And undeniably, there's a prodigious greatness on display here. But just as undeniably, it is failed work.

Salon.com Andrew O'Hehir

It's a lovely, measured and deeply earnest work. It balances a realistic view of first century Palestine against a sincere consideration of how an ordinary man might learn he is divine.

The New York Times Janet Maslin

despite such maladroit moments, The Last Temptation of Christ finally exerts enormous power. What emerges most memorably is its sense of absolute conviction, never more palpable than in the final fantasy sequence that removes Jesus from the cross and creates for him the life of an ordinary man.

Chicago Reader Jonathan Rosenbaum

The efforts to plant this story in a contemporary vernacular are not always successful but the performances are uniformly fine in their adherence to the material, and consistently avoid any vulgarity or showboating.