Max Reviews

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Todd McCarthy
Variety
December 10, 2008
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Derek Adams
Time Out
June 24, 2006
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Jeff Strickler
Minneapolis Star Tribune
May 19, 2004
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Ty Burr
Boston Globe
March 21, 2003
The film is torn between playing [Taylor's] character for real and as a dangerous joke.
Full Review | Original Score: 2.5/4
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Moira MacDonald
Seattle Times
March 7, 2003
Taylor, hawk-faced and gaunt, pours everything into his portrayal of Hitler, never once seeking our sympathy for this angry, homeless loner.
| Original Score: 2.5/4
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Bruce Westbrook
Houston Chronicle
February 28, 2003
Offers a persuasive look at a defeated but defiant nation in flux.
Full Review | Original Score: B
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St. Louis Post-Dispatch
February 28, 2003
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Tom Long
Detroit News
February 7, 2003
If it's not a completely successful film, it is at the very least an intriguing effort to humanize the demon.
| Original Score: B-
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Michael O'Sullivan
Washington Post
February 7, 2003
Fascinating story from screenwriter- turned-director Menno Meyjes.
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Stephen Hunter
Washington Post
February 7, 2003
Mad Max just sails off into nonsense.
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Terry Lawson
Detroit Free Press
February 7, 2003
One of the most intriguing and odd 'what if' movies ever conceived.
Full Review | Original Score: 3/4
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Steven Rea
Philadelphia Inquirer
February 6, 2003
With lines that feel like long soliloquies -- even as they are being framed in conversation -- Max is static, stilted.
| Original Score: 2.5/4
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January 31, 2003
As a ravishingly photographed, high-minded meditation on the potential of art and therapy to exorcise the vilest sort of psychological poison, it is positively riotous -- an Everest of idiocy.
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Jay Boyar
Orlando Sentinel
January 24, 2003
The best thing about Max is its originality.
| Original Score: 3/5
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Mick LaSalle
San Francisco Chronicle
January 24, 2003
An intelligent film with a sophisticated understanding of art and the significance it played in Hitler's psychology.
Full Review | Original Score: 3/4
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Roger Ebert
Chicago Sun-Times
January 24, 2003
Peculiar and intriguing.
Full Review | Original Score: 3.5/4
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Gary Dowell
Dallas Morning News
January 23, 2003
A mildly flawed but nonetheless compelling 'what if?' interpretation of the events that shaped a singularly hateful man.
Full Review | Original Score: B-
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Michael Wilmington
Chicago Tribune
January 23, 2003
A flawed film but an admirable one that tries to immerse us in a world of artistic abandon and political madness and very nearly succeeds.
Full Review | Original Score: 3/4
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Geoff Pevere
Toronto Star
January 17, 2003
The movie tries, and largely succeeds, in putting a human face -- an ugly one -- on the otherwise incomprehensibly chilling mask of Nazi inhumanity.
Full Review | Original Score: 3/5
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Rick Groen
Globe and Mail
January 17, 2003
Is it offensively bad or, that rarest of stinkers, intriguingly bad?
Full Review | Original Score: 2/4
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Rex Reed
New York Observer
January 16, 2003
A vivid, spicy footnote to history, and a movie that grips and holds you in rapt attention from start to finish.
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Andrew Sarris
New York Observer
January 16, 2003
The 'what-ifs' involved have offended some people, but I found the movie fascinating for its subtext about art and politics, then as now.
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Peter Travers
Rolling Stone
January 9, 2003
It's a big idea, but the film itself is small and shriveled.
| Original Score: 1/4
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Lisa Schwarzbaum
Entertainment Weekly
January 9, 2003
It challenges, this nervy oddity, like modern art should.
Full Review | Original Score: B-
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James Berardinelli
ReelViews
December 31, 2002
Max ignites when Taylor is on screen. It frequently becomes sluggish when the focus is exclusively on the title character and the individuals surrounding him.
Full Review | Original Score: 3/4
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Richard Roeper
Ebert & Roeper
December 30, 2002
Cusack's just brilliant in this.
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Jan Stuart
Newsday
December 27, 2002
Rich in atmosphere of the post-war art world, it manages to instruct without reeking of research library dust.
Full Review | Original Score: 3.5/4
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Stephen Holden
New York Times
December 26, 2002
It is a historical fantasy connecting fact and wild supposition into a provocative work of fiction that poses ticklish questions about art and society.
Full Review | Original Score: 4/5
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Kenneth Turan
Los Angeles Times
December 26, 2002
It's a bizarre curiosity memorable mainly for the way it fritters away its potentially interesting subject matter via a banal script, unimpressive acting and indifferent direction.
Full Review | Original Score: 2/5
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J. Hoberman
Village Voice
December 25, 2002
Although Max is a kitschy and often risible historical fantasy ... this Hungarian-Canadian-British co-production, directed by Meyjes from his own script, is not devoid of ideas.
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Ella Taylor
L.A. Weekly
December 19, 2002
Meyjes ... has done his homework and soaked up some jazzy new revisionist theories about the origins of Nazi politics and aesthetics.
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Kirk Honeycutt
Hollywood Reporter
September 11, 2002
Meyjes ... rewards adventurous filmgoers with a speculative fiction that makes connections and provokes ideas worth considering about the emotional makeup of this tyrant.