Agora Reviews

  • The skeptical and the secular also need stories of martyrdom and rousing acts of cinematic preaching.

    A.O. Scott — New York Times

  • Agora, Alejandro Amenabar's absorbing historical drama, proves that, in an era of movies made for iPhones with artistic ambitions to match, there are still filmmakers willing to swing for the fences.

    Ann Hornaday — Washington Post

  • It's still more than watchable thanks to the ministrations of a talented director, Spain's Alejandro Amenabar, but the togas seem to have brought out the stiff, declamatory earnestness in everyone.

    Ty Burr — Boston Globe

  • To its credit, the film calls out Christianity's ignominious imperialism and locates a valid historical analogue to the religious extremism of today. Yet good intentions shan't save Amenbar from his own ham-fisted methods.

    Eric Hynes — Village Voice

  • I went to see Agora expecting an epic with swords, sandals and sex. I found swords and sandals, some unexpected opinions about sex, and a great deal more.

    Roger Ebert — Chicago Sun-Times

  • With fire in her eyes and the riddle of the solar system in her brain, Weisz struggles in fleshing out a historical character well worth a movie, though frustratingly sketchy as written here.

    Michael Phillips — Chicago Tribune

  • This Spanish-produced period drama is pretty dreadful: the drama is torpid, the astronomy lessons pedantic, and the spear-and-sandal production values flat-out cheesy.

    Cliff Doerksen — Chicago Reader

  • Agora is entertaining, and even at times illuminating.

    Steven Rea — Philadelphia Inquirer

  • Some may consider "Agora" sound history, others may label it heresy, but I call it thumping good drama.

    Colin Covert — Minneapolis Star Tribune

  • Manages to mix philosophy, history, hysteria and a love triangle and still be something of a bore.

    Tom Long — Detroit News

  • The mother of all secular humanists fights a losing battle against freshly minted religious zealots in "Agora," a visually imposing, high-minded epic.

    Todd McCarthy — Variety

  • There are a few exciting battle sequences and the sets are lavish, but mostly the film meanders aimlessly for more than two hours. No wonder new sword-and-sandal movies are in short supply.

    V.A. Musetto — New York Post

  • The biggest problem is that Gil and Amenabar haven't been able to make the script hold together and there are times, especially with the love triangle, when things veer into the cheesy.

    Linda Barnard — Toronto Star

  • Although the movie's history is spotty, its dialogue is sometimes clunky, and time frames are telescoped, its overall impact packs a powerful punch.

    Jonathan F. Richards — Film.com

  • A humorless feminist toga epic that fascinates with its intelligence and its abhorrence of the birth of Judeo/Christian culture.

    Brandon Judell — indieWIRE

  • "Agora" occasionally hints at the interesting material embedded in its central conceits, but never manages to enliven it.

    Eric Kohn — indieWIRE

  • This lavish Spanish production begins to plod after a brisk, lively first half.

    Jennie Punter — Globe and Mail

  • The human story of Agora is not only smaller in scale than the sweep of geohistory but considerably less interesting.

    Dana Stevens — Slate

  • A great example of bravura filmmaking by a gifted young international filmmaker.

    Los Angeles Times

  • Agora is intelligent, stirring and, as the cultural devastation wrought by religious zealots plays out on screen, heartbreaking.

    Jason Best — Movie Talk

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