Ten Reviews

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July 10, 2003
A major minimalist departure for Kiarostami.
May 9, 2003
A very interesting film, despite structural limitations that keep it from approaching greatness.
May 9, 2003
A rare chance for viewers to eavesdrop on everyday talk in Tehran that, although fictionalized, must approximate what really happens in Iran's busy capital.
May 9, 2003
Ten may strain your patience but that's the high-stakes gamble of this provocative project.
April 25, 2003
A conceptual tour de force and a brainiac's road movie, Abbas Kiarostami's Ten goes from chilly abstraction to hot emotion in less than 60 seconds.
April 24, 2003
One of the year's finest movies.
April 18, 2003
It shows us, in an extraordinarily simple way, the hopes and frustrations of one woman's life.
April 18, 2003
Very soon it's clear that even from a camera trained on the front seat of a car, an amazingly full and complex portrait of Iranian life can emerge.
April 11, 2003
Stark, experimental and surprisingly affecting.
April 11, 2003
No ordinary moviegoer, whether Iranian or American, can be expected to relate to [Kiarostami's] films. They exist for film festivals, film critics and film classes.
April 11, 2003
Ten has been praised as a further distillation of Kiarostami's already minimalist cinema. That's true enough, even if his movies still have a tendency to make us carsick.
April 10, 2003
A film made by a master, with a simplicity that is really revolutionary.
March 28, 2003
Kiarostami is nothing if not patient, almost to a fault here. He allows life to happen as the film rolls, and one can't help but wonder if, to cover a lot of emotional ground, you must also cover a lot of asphalt.
March 13, 2003
Makes maximum use of a minimalist structure to deliver some cogent observations about the status of women in contemporary Iran.
March 8, 2003
Ten might not be the easiest film for Hollywood-conditioned viewers to get into or to enjoy, but it never seems like an arid experiment.
March 6, 2003
A glimpse into a society that has grown more open, more free, and also more casually selfish in its interpersonal aggression.
March 6, 2003
Breezy, entertaining and enlightening.
March 4, 2003
Conceptually rigorous, splendidly economical, and radically Bazinian.
October 24, 2002
By the end you feel that the lives of the characters, and the complicated society they inhabit, have been illuminated.
September 11, 2002
This is vibrant, gritty filmmaking that proves that Kiarostami is still one of the most consistently fascinating filmmakers of our times.
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