The Man Who Cried Reviews

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October 30, 2001
July 20, 2001
I prefer to think of this movie as The Critic Who Cried.
July 16, 2001
Potter eschews drama for posing, politics for postulating, and provides enough symbolic broad strokes to gag a magic realist.
July 13, 2001
It's as though we're being dared not to take the movie seriously, although nothing but the pre-Holocaust setting compels you to do so.
June 28, 2001
There's only one performer in the movie who looks completely at ease with what he's doing: the horse.
June 22, 2001
If [Potter] personally, in her 40s, can go to Argentina and become a tango dancer, then we can't complain about anything that happens to Suzie. Not that we'd want to.
June 21, 2001
A poetic look at transience, betrayal, loss and doom.
June 15, 2001
The story is pretty cornball, with an ending that can only be called pure Hollywood.
June 15, 2001
A mixed bag -- reasonably well-made and of some interest, but not the kind of movie to truly engage the viewer.
June 14, 2001
What she lacks as a dramatist, Potter ... compensates for with a painter's eye and a composer's ear.
June 4, 2001
While we may like what we see, it's impossible to comprehend what much of it means or why we should care.
June 1, 2001
We're never offended by any of this -- we're never exactly enthralled, either.
June 1, 2001
Has a good story; a lush, tantalizing style and tone; and an excellent cast.
May 26, 2001
Potter's cinematic vision is what makes The Man Who Cried shimmer and levitate.
May 26, 2001
If this all sounds terribly melodramatic, that's because it is.
May 25, 2001
If only all this effort had all been expended on a worthier endeavor.
May 25, 2001
It's all big moments, the world's longest and most sincere trailer.
May 25, 2001
Spotted with historical inaccuracies and groaning with dialogue so dreadful that it makes a fine cast look ridiculous again and again.
May 25, 2001
A pallid character drama that glosses over any interesting political or moral questions.
May 25, 2001
Suzie and Cesar are essentially reactive characters, as much victims of underwriting as they are of persecution.
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