Ryder, usually a soft, placid actress, unleashes a bold new anger here.
Owen Gleiberman - Entertainment Weekly
With a head on its shoulders and the rawest emotions in its craw, Arthur Miller's stage hit The Crucible has become a cinematic grabber for grown-ups -- without that castor oil taste.
Mike Clark - USA Today
Dean Essner - Washington Post
The first scene in "The Crucible'' strikes the first wrong note.
Roger Ebert - Chicago Sun-Times
Susan Stark - Detroit News
Neither the establishing dramatic linchpin nor the final conversion of conscience is terribly convincing, leaving this pared-down rendition of the original work diminished in power and meaning as well.
Todd McCarthy - Variety
Dean Essner - Globe and Mail
This version illuminates the story's numerous strengths, resulting in a motion picture of surprising emotional and intellectual impact.
James Berardinelli - ReelViews
Susan Granger - www.susangranger.com
The movie version reveals the play as what it always was: a melodrama about a married guy who shouldn't have dallied with a vengeful girl.
Rob Gonsalves - eFilmCritic.com
Neil Cohen - Echo Magazine
It couldn't be more timely or relevant.
Dennis Schwartz - Ozus' World Movie Reviews
Hytner holds the action together with solid, unflashy, well-paced direction, ensuring that this is no mere period piece but a compelling, pertinent account of human fear, frailty and cold ambition.
Geoff Andrew - Time Out
Chuck O'Leary - Fantastica Daily
Perfectly captures the air of hysteria and paranoia.
Michael Dequina - TheMovieReport.com
Emanuel Levy - EmanuelLevy.Com
Robin Clifford - Reeling Reviews
Arthur Miller's story of hysteria, persecution and social injustice, is classy and powerful with some marvelous acting.
Judith Egerton - Courier-Journal (Louisville, KY)
Superb adaptation is as topical as ever, with its trenchant themes of hypocrisy, hate-mongering and political coups d'etat crawling all over each other like worms in a can.
Matt Brunson - Creative Loafing
Rich Cline - Shadows on the Wall
Worth watching. Good message. Not such a good film.
Alex Sandell - Juicy Cerebellum
Jim Shelby - Palo Alto Weekly
James O'Ehley - Sci-Fi Movie Page
Margaret A. McGurk - Cincinnati Enquirer
Compels us to recognize the shadow side of our lives, including the evil inside us.
Frederic and Mary Ann Brussat - Spirituality and Practice
There's an awful, piercing truth in the performances of Daniel Day-Lewis, Winona Ryder, Joan Allen and Paul Scofield as members of a community destroyed by guilt, paranoia and betrayal.
Edward Guthmann - San Francisco Chronicle
A layered examination of mob hysteria and of the Puritan mindset on which America was founded and which still dictates so much of our belief system in this era of "family values" rhetoric.
Ray Greene - Boxoffice Magazine
Hytner uses 360-degree camera turns and strange angle shots to inject this largely lifeless business with some drama. Ryder tries to do the same by nearly working herself into cardiac arrest in several monologues.
Barbara Shulgasser - San Francisco Examiner
Mark R. Leeper - rec.arts.movies.reviews
Madeleine Williams - Cinematter
Surrounded by some phenomenal acting performances, the weaknesses in Ryder's technique become more blatant. She begins at a feverish pitch and never lets up from there.
Marjorie Baumgarten - Austin Chronicle
Visually and emotionally, The Crucible gives the viewer a story of passion and internal struggle.
Diane Selkirk - Apollo Guide
Marty Mapes - Movie Habit
Cynthia Fuchs - Philadelphia City Paper
I remember thinking to myself halfway through that this show was such a hopeless mess that I would be unable to recommend it no matter how (sometimes overly) earnest were the performances.
Steve Rhodes - Internet Reviews
A devastating story and a devastating film, writer Arthur Miller at his most powerful (adapting from his play) and director Nicholas Hytner handling the material superbly.
Urban Cinefile Critics - Urban Cinefile
When you compare this story with more recent historical events, in which small American towns have been turned upside-down by prejudice and paranoia, it doesn't seem so far removed from the late 20th century.
Chris Hicks - Deseret News, Salt Lake City
Scott Renshaw - rec.arts.movies.reviews
Gemma Files - eye WEEKLY
Hytner's adaptation (scripted by Miller) makes 1692 Salem palpably real, liberating the text from its overt parallels to the anti-Communist witch hunts of the 1950s and making the story seem a more universal indictment of conformist paranoia.
Gary Susman - Boston Phoenix