All Critics (169) | Top Critics (44) | Fresh (157) | Rotten (12)
Trintignant perfectly captures the resolve that eventually borders on obsession, as the woman he loves gradually, maddeningly, disappears before his eyes, and he does whatever he can to prevent it, though he knows it's impossible.
Many viewers will find echoes of their grandparents, parents, or even themselves in these characters.
A movie that is utterly worthy of its all-encompassing title.
The resulting interplay of ruthless restraint and unavoidable passion, plus the film's refusal to shrink from depicting the inevitable horrors of physical deterioration, is devastating.
In many ways it's the best horror film I've ever seen. At the same time, it's hard to recommend; I believe I will be struggling to forget this film as long as I live. I doubt I'll succeed.
As remarkable as Haneke's films are, not a one has been as transcendently generous as Amour, which is nominated for five Academy Awards, including best picture, best director and best foreign-language film.
This is a movie almost too painful to watch at times, yet so masterfully composed and acted - Riva absolutely deserves her Oscar nomination, while Trintignant was robbed - that it's impossible to turn away.
Georges' irreversible decision may be courageous, but it requires no sacrifice on the part of his creator: for Haneke, it's business as usual.
Trintignant and Riva are unforgettably brilliant as the aging couple we can all identify with.
Haneke's startling film stands in stark contrast with other recent, comedic fare that seemingly addresses similar issues.
My review is categorized as 'favourable' not because I enjoyed the film (that's not Michael Haneke's intent) but because I recognise what he is trying to say and that he says it with a unique cinematic voice
Debilitation and loss of control is a harsh topic, yet Haneke's film is surprisingly gentle, exploring the constraints and options faced, as old age delivers its ultimate blow - the loss of self and ability to function with dignity
Amour is a pure depiction of love, in all its many forms.
The furthest thing from sweet sorrow imaginable, Amour gets real about the pain of parting in every sense of the word.
This subject matter is ripe for sentimentalization, but Haneke resists it at every turn, opting instead for unflinching honesty. It is the economy of theme paired with the subtle richness of character that make Amour so powerful.
Clearly, Amour, Michael Haneke and Emmanuelle Riva don't really need me to additionally sing their praises (although praise is indeed all I have), so let's discuss Jean-Louis Trintignant for a moment.
All is presented in Haneke's exacting style, one that I find controlling and a bit, well, smothering.
An insightful, memorable film about what it means to love.
A tale about love at its most terribly, backbreakingly difficult.
In many ways, it's a horror film, as the woman descends into helplessness, and - like the audience - the man can only watch. It's a potent piece of filmmaking.
The superb Trintignant and the Oscar-nominated Riva -- who would win, in a just world -- embody once-vigorous people in inevitable decline.
For Haneke, love is just another curious human trait to be dissected and used as a tool to disquiet his audience.
Source: http://www.rottentomatoes.com/m/771307454/
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