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Glenn Lovell, San Jose Mercury News: Given the convoluted approach -- and tongue-tied delivery -- we're left to conclude that Egoyan's emotions got the better of him this time. Read more
Wesley Morris, Boston Globe: Before long, you get Egoyan's big idea -- and it's hardly a good one. He wants to turn the movie screen into a blackboard. Read more
Terry Lawson, Detroit Free Press: Part impassioned history lesson, part reflection on the way entertainment distorts history, part extension of [Egoyan's] previous explorations of how desire and need distort our sense of self. Read more
Susan Stark, Detroit News: Only the most patient, sensitive and sensible of viewers will cut through the film's affectations and indulgences to come to the point. Read more
Michael Wilmington, Chicago Tribune: In the end, Ararat has enough artistry and intelligence -- and enough commitment from Egoyan, producer Robert Lantos and company -- to justify more than a higher-than-mixed rating. Read more
Stephen Holden, New York Times: Hands down the year's most thought-provoking film. But it pays a price for its intricate intellectual gamesmanship. Read more
Moira MacDonald, Seattle Times: It's a deeply serious movie that cares passionately about its subject, but too often becomes ponderous in its teaching of history, or lost in the intricate connections and multiple timelines of its story. Read more
Kevin Thomas, Los Angeles Times: Makes considerable demands of the audience but richly rewards those prepared to go the distance. Read more
Lisa Schwarzbaum, Entertainment Weekly: [A] difficult, dense, passionate drama. Read more
Liam Lacey, Globe and Mail: The metaphors are provocative, but too often, the viewer is left puzzled by the mechanics of the delivery. Read more
Chris Vognar, Dallas Morning News: You can quibble with excess characters and storylines, but the cumulative effect is strong and emotionally accurate. Read more
Jon Strickland, L.A. Weekly: If all this sounds impossibly turgid, it is. Read more
John Anderson, Newsday: Hardly makes the kind of points Egoyan wanted to make, nor does it exist as the kind of monument he wanted to build, to victims whose voices have never gained the ears of the world. Read more
James Berardinelli, ReelViews: Did the film inform and educate me? Yes. Did it move me to care about what happened in 1915 Armenia? No. And that is where Ararat went astray. Read more
Roger Ebert, Chicago Sun-Times: Egoyan's work often elegantly considers various levels of reality and uses shifting points of view, but here he has constructed a film so labyrinthine that it defeats his larger purpose. Read more
Mick LaSalle, San Francisco Chronicle: Has the obsessiveness and audacity of a film that had to be made or its filmmaker would have combusted. Read more
Geoff Pevere, Toronto Star: A pertinent powerfully intelligent account of the morality of making history. Read more
Dennis Lim, Village Voice: The director's customary narrative elisions and evasions have an unsettling mirror function here. Read more
Desson Thomson, Washington Post: In a strange way, Egoyan has done too much. He's worked too hard on this movie. Read more
Ann Hornaday, Washington Post: Read more