Shazam!
High Life
Widows
The Walking Dead
Log in with Facebook
OR
By creating an account, you agree to the Privacy Policy and the Terms and Policies, and to receive email from Rotten Tomatoes and Fandango.
Please enter your email address and we will email you a new password.
We want to hear what you have to say but need to verify your account. Just leave us a message here and we will work on getting you verified.
Please reference “Error Code 2121” when contacting customer service.
A slow-burning, riveting film about Iranian class differences.
All Critics (74) | Top Critics (28) | Fresh (64) | Rotten (10) | DVD (1)
I'm glad I saw Crimson Gold. Watching it is like getting a peek behind the curtain. Aug 7, 2004
I'm glad I saw Crimson Gold. Watching it is like getting a peek behind the curtain.
Peter Rainer
Panahi's movie, unsurprisingly, has been outlawed in Iran. Nobody likes a prophet. Aug 1, 2004
Panahi's movie, unsurprisingly, has been outlawed in Iran. Nobody likes a prophet.
Anthony Lane
The movie can feel slow and tedious, but the supper it makes us work for is nourishing. Jun 25, 2004 | Rating: 2.5/4 | Full Review…
The movie can feel slow and tedious, but the supper it makes us work for is nourishing.
Vic Vogler
It's every bit as outwardly unruffled as its hero, but inwardly it seethes with the very same gradually accumulated rage. A devastating and beautiful film. May 28, 2004 | Rating: 5/5 | Full Review…
It's every bit as outwardly unruffled as its hero, but inwardly it seethes with the very same gradually accumulated rage. A devastating and beautiful film.
Geoff Pevere
A film both shocking and humane, as if Taxi Driver were somehow rewritten by Chekhov. May 28, 2004 | Rating: 3.5/4
A film both shocking and humane, as if Taxi Driver were somehow rewritten by Chekhov.
Liam Lacey
It's the singular presence of Hussein Emadeddin -- a nonprofessional like all the other actors Panahi has used in his films -- that gives the film much of its soul and mystery. Apr 23, 2004 | Rating: 4/4 | Full Review…
It's the singular presence of Hussein Emadeddin -- a nonprofessional like all the other actors Panahi has used in his films -- that gives the film much of its soul and mystery.
Jonathan Rosenbaum
The film's sociopolitical themes are all the more powerful for being subtly expressed through a starkly realistic tale. Sep 8, 2005 | Rating: 9/10 | Full Review…
The film's sociopolitical themes are all the more powerful for being subtly expressed through a starkly realistic tale.
Josh Ralske
An incisive portrait of one man's quiet rage at, and heartbreakingly violent response to, social inequality. May 3, 2005 | Rating: A- | Full Review…
An incisive portrait of one man's quiet rage at, and heartbreakingly violent response to, social inequality.
Nick Schager
Brutal class realities in contemporary Iran Oct 2, 2004 | Full Review…
Brutal class realities in contemporary Iran
Louis Proyect
an artful failure, a moped-fueled odyssey into dramatic weariness and monotony Sep 30, 2004 | Rating: 2/5
an artful failure, a moped-fueled odyssey into dramatic weariness and monotony
Jay Antani
...a slow-moving but ultimately intriguing character study. Aug 21, 2004 | Rating: 2.5/4 | Full Review…
...a slow-moving but ultimately intriguing character study.
David Nusair
It settles into the typical reflective mode of Iranian films, but something is happening: A human being is slowly, sullenly, silently approaching his combustion point. Aug 13, 2004 | Full Review…
It settles into the typical reflective mode of Iranian films, but something is happening: A human being is slowly, sullenly, silently approaching his combustion point.
Lawrence Toppman
Kiarostami is not behind the camera here but Jafar Panahi who was the recent subject of This is Not a Film delivers well here. I appreciate this more for the little tidbits that Panahi provides during This is Not a Film with its unexpected directors' commentary. It's raw and real.
Super Reviewer
A real measured and poetic presentation of class and pride in Iranian society and in just human existence in itself. The film is about a pizza delivery man who attempts to rob a jewellery store. Abbas Kiarostami wrote the script for this film, supposedly after meeting with Quintin Tarantino and you can tell in its non-linear narrative. The film starts with the robbery and him killing himself, then the rest of the film is the build up. This non-linear narrative with the neo-realist style of Iranian new wave does create something void of tension but full of exploration.
There are no approved quotes yet for this movie.
View All