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Michael Phillips, Chicago Tribune: [Kristin Scott Thomas] keeps a tight rein on her melodramatic instincts throughout. Then, at precisely the right moment, the character's delayed release becomes the audience's gratification. Read more
Sara Cardace, New York Magazine/Vulture: Thomas plays Juliette as if she's trapped within her own body too, gradually learning to navigate her old world. Her performance gives life to a taut narrative. Read more
David Edelstein, New York Magazine/Vulture: The film is a tease, with a cheat of a final disclosure, but Philippe Claudel's direction is both probing and delicate, and Scott Thomas's face, even immobile, keeps you watching, searching for hints of her character's past. Read more
J. R. Jones, Chicago Reader: Philippe Claudel is a successful French novelist, so it's odd that his filmmaking debut suffers more from narrative than cinematic flaws. Read more
Joe Morgenstern, Wall Street Journal: Philippe Claudel gives his heroine unusual depth, which Kristin Scott Thomas reveals with unusual passion, and he fills the world around her with characters who bespeak a novelist's fertile imagination. Read more
John Hartl, Seattle Times: An uneven new French film that plays like a companion piece to the recent British drama Boy A. Read more
Jonathan F. Richards, Film.com: This is a thriller, though, in the sense that it is a thrill to watch Scott-Thomas give one of the finest performances of the year. Read more
Scott Tobias, AV Club: The film deftly sketches a sibling relationship complicated by obligation, guilt, mistrust, and, not least, an abiding love. Read more
Randy Cordova, Arizona Republic: Despite its flaws, the movie pulls you in with its squarely realistic setting and subdued performances. Best of all is Thomas. Read more
Ty Burr, Boston Globe: Thomas packs infinite amounts of nuance and agony into such moments, and after a while she outraces the movie itself. Read more
Kenneth Turan, Los Angeles Times: I've Loved You So Long is the kind of film America's moviemakers have all but given up on. Read more
Amy Biancolli, Houston Chronicle: Thomas gives it her all, uncorking every ounce of emotion she'd held in check, with Herculean restraint, over the better part of two hours. Read more
Peter Rainer, Christian Science Monitor: It would be easy to overrate I've Loved You So Long, which often dampens its best effects with undue tastefulness, but the image of Scott Thomas, with her despairing resilience, stays with one. Read more
Lisa Schwarzbaum, Entertainment Weekly: The story is a luxurious mess of woes. But dramatic resolution is almost beside the point when Scott Thomas and the precise, birdlike Zylberstein engage in such attractive flights of performance in service to sisterly love. Read more
Ella Taylor, L.A. Weekly: Solicitously shepherding us into the shallows of the therapeutic women's novel, Claudel tamps down his magnificently intransigent Hedda Gabler, and makes her gently weep just when she should be baying at the moon. Read more
Rafer Guzman, Newsday: In a few moments the British actress, playing a haunted woman named Juliette, will begin speaking French, but in these moments her face reveals more than any dialogue. Read more
David Denby, New Yorker: You may need to see I've Loved You So Long twice in order to see it once. Read more
Joe Neumaier, New York Daily News: Scott Thomas breathes more emotion into Juliette's affectless, haunted demeanor than most actors do with pages of dialogue. Read more
Lou Lumenick, New York Post: You'd have to be made of stone not to weep at the confession that caps I've Loved You So Long. Read more
Rex Reed, New York Observer: This is an amazing film for a directorial debut, but Mr. Claudel eschews sentimentality with what practically amounts to quiet heroism. Read more
Andrew Sarris, New York Observer: Mr. Claudel has made a grown-up film for our troubled time, and created a beautiful rapport between two gifted actresses. Read more
Roger Moore, Orlando Sentinel: In a profession that routinely casts aside leading ladies when they hit 40, it's a shame a great one had to take her act to France to remind us that actors, like wines, only improve with age. Read more
Steven Rea, Philadelphia Inquirer: Kristin Scott Thomas gives a performance that is so chilling, so braced in pain that it's almost impossible to bear. Almost impossible, because, in fact, it's impossible not to behold this riveting piece of role immersion. Read more
James Berardinelli, ReelViews: I've Loved You So Long is the kind of film that will bore to tears those who do not enjoy simple, unforced character dramas. Read more
Roger Ebert, Chicago Sun-Times: This is one of Kristin Scott Thomas' most inspired performances. Read more
Mick LaSalle, San Francisco Chronicle: Kristin Scott Thomas' performance in I've Loved You So Long is one of a small handful of highlights by which people will remember this year in movies. Read more
Colin Covert, Minneapolis Star Tribune: I've Loved You So Long is about the repercussions of tragedy, the difficulty of being supportive, the need for patience in the face of despair. Without saying much, Scott Thomas carries the entire enterprise on her slender shoulders. Read more
Rick Groen, Globe and Mail: Without Kristin Scott Thomas, I've Loved You So Long would be a watchable but hardly a memorable movie. Read more
Linda Barnard, Toronto Star: Like a good book, I've Loved You So Long unfolds in chapters. And when it ends, you close the cover with emotion and reluctance. Read more
Nina Caplan, Time Out: Claudel understands that his drama lies in letting two superb actresses build their characters, forge their relationship and examine their grief. Read more
Christopher Orr, The New Republic: [The] final twist undoes the film to some degree, [but] it cannot undo Scott Thomas's performance, one of the marvels of this, or any, cinematic year. Read more
Claudia Puig, USA Today: Writer/director Philippe Claudel knows just how to structure a character study of this sort, so that key elements and important secrets are revealed over time, piquing our interest. Read more
Derek Elley, Variety: Scott Thomas is aces in the lead role, with flashes of mordant wit that prevent it from becoming a dreary study in self-pity. Read more
Michael O'Sullivan, Washington Post: [An] exquisitely rendered story of reconciliation and redemption, which has something of a thriller's structure but is really all about relationships. Read more