Meek's Cutoff Reviews

  • Under Oregon skies, there's political subtext for the taking in this terrific, unsettling film.

    Lisa Schwarzbaum — Entertainment Weekly

  • A bracingly original foray into territory that remains, in every sense, unsettled.

    A.O. Scott — New York Times

  • A mesmerizing cinematic journey that is often as arduous and spare as the lives of its hard-bitten protagonists.

    Ann Hornaday — Washington Post

  • Told largely in long shot, it's a painfully, beautifully slow film, which is understandable given the time, place, and situation.

    Ty Burr — Boston Globe

  • Recalls Jim Jarmusch's Dead Man and even Werner Herzog's Aguirre: The Wrath of God in its evocation of frontier surrealism and manifest-destiny madness; the Reichardt approach is, however, more stringent and pointed in its weirdness.

    J. Hoberman — Village Voice

  • Fans of Kelly Reichardt's minimalist portraits will adore her stark Western, but others may be taken aback by the bold lack of traditional filmmaking.

    Elizabeth Weitzman — New York Daily News

  • Amounts to a master class in the power of observation.

    Joe Morgenstern — Wall Street Journal

  • A cinematic immersion of both modest and cosmic proportions, beautifully enacted by a cast that makes you fully believe that they are these beleaguered characters, and make you glad that you aren't.

    Glenn Kenny — MSN Movies

  • It's a pleasureless, anti-sensuous aesthetic, but the movie, in its thorny, grudging way, is stirring, with many startling details.

    David Denby — New Yorker

  • "Meek's Cutoff" is more an experience than a story.

    Roger Ebert — Chicago Sun-Times

  • If you allow its windswept silences to work on you, "Meek's Cutoff" gathers its own snakelike sense of momentum...

    Michael Phillips — Chicago Tribune

  • Imagine a collaboration between John Ford and Wallace Stevens and you might get a sense of what Kelly Reichardt pulls off here: a sincere re-creation of the pioneer experience, brought to life through careful, often unexpected detail.

    Ben Sachs — Chicago Reader

  • The cinematography, by Chris Blauvelt, captures the rugged landscapes and rainless skies with a homespun elegance.

    Steven Rea — Philadelphia Inquirer

  • Reichardt serves the broccoli of historical pedantry, deliberately withholding the delicious cheese sauce of entertainment.

    Colin Covert — Minneapolis Star Tribune

  • This is the sort of film critics love to praise because the filmmaker has done good work before; and well, there must be something there. Well, there's not.

    Tom Long — Detroit News

  • Greatly enhanced by the performances of Michelle Williams and Bruce Greenwood, director Kelly Reichardt's film quietly becomes engrossing - it almost sneaks up on you.

    Bill Goodykoontz — Arizona Republic

  • Who goes to the movies for 104 minutes of punishment? Where is John Wayne, now that we need him?

    Rex Reed — New York Observer

  • [Kelly Reichardt has] taken on her biggest budget (essentially a thicker shoestring) and most recognizable cast yet, while fully retaining her patient, deliberate approach to narrative and attentiveness to nature as a character.

    Justin Chang — Variety

  • Without exception, the actors give understated but compelling performances.

    V.A. Musetto — New York Post

  • It's the anti-western western, a story stripped of Zane Gray romance, sagebrush and mythic heroes.

    Linda Barnard — Toronto Star

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