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Reviews provided by RottenTomatoes
Susan Stark, Detroit News: [Inarritu] may well be the millennium's first new master film maker. Read more
Gary Dowell, Dallas Morning News: The cinematic equivalent of a one-two gut punch. In a good way, that is. Read more
Geoff Pevere, Toronto Star: Stylishly gritty. Read more
Elvis Mitchell, New York Times: Amores feels like the first classic of the new decade, with sequences that will probably make their way into history. Read more
Barbara Scharres, Chicago Reader: Solidly engaging, supersized 2000 Mexican drama. Read more
David Edelstein, Slate: Just keeps coming at you, switching characters, tones, and rhythms to keep you off-guard. Read more
Kevin Thomas, Los Angeles Times: Ablaze with a raft of vital portrayals and rich in meaning and implication. Read more
Eric Harrison, Houston Chronicle: An exhilarating debut. Read more
Lisa Schwarzbaum, Entertainment Weekly: Fierce, loving, and electric, this movie's got bite as well as bark. Read more
Rick Groen, Globe and Mail: Inarritu's talent may be derivative, but it's applied to a setting he knows well and whose vibrancy he's keen to convey. Read more
Manohla Dargis, L.A. Weekly: It's good and good-looking and features one of the best soundtracks in years ... but it's also slick and schematic, weak on feeling and overly indebted to Tarantino. Read more
Peter Rainer, New York Magazine/Vulture: It's a truly prodigious piece of work, resembling a career summation far more than a maiden voyage. Read more
Andrew Sarris, New York Observer: One of the most honored and most expertly articulated Mexican films of recent years. Read more
James Berardinelli, ReelViews: Amores Perros is more than just a strong debut; it's good, gritty filmmaking. Read more
Roger Ebert, Chicago Sun-Times: The work of a born filmmaker. Read more
Andrew O'Hehir, Salon.com: A film with something to say and a remarkably adult understanding of human passion and the crazy places it leads us. Read more
Wesley Morris, San Francisco Chronicle: It finds the human beauty that spills out of the knife wounds. Read more
Richard Schickel, TIME Magazine: [The] sense that even hair-trigger lives, always poised on the edge of self-destructive lunacy, deserve to be sympathetically understood is Amores Perros' redeeming grace. Read more
Geoff Andrew, Time Out: Recalling Reservoir Dogs and Pulp Fiction - but edgier than both - this is a hell of a first film. For all its bonecrunching savagery, it's also a fundamentally moral work. Read more
David Stratton, Variety: Divided into three chapters, pic is cunningly constructed and, until near the end, briskly paced. Read more
J. Hoberman, Village Voice: Punishingly overlong. Read more
Desson Thomson, Washington Post: Definitely fierce and most definitely human. Read more