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Ty Burr, Boston Globe: The film is torn between playing [Taylor's] character for real and as a dangerous joke. Read more
Terry Lawson, Detroit Free Press: One of the most intriguing and odd 'what if' movies ever conceived. Read more
Richard Roeper, Ebert & Roeper: Cusack's just brilliant in this. Read more
Michael Wilmington, Chicago Tribune: A flawed film but an admirable one that tries to immerse us in a world of artistic abandon and political madness and very nearly succeeds. Read more
Stephen Holden, New York Times: It is a historical fantasy connecting fact and wild supposition into a provocative work of fiction that poses ticklish questions about art and society. Read more
Kenneth Turan, Los Angeles Times: It's a bizarre curiosity memorable mainly for the way it fritters away its potentially interesting subject matter via a banal script, unimpressive acting and indifferent direction. Read more
Bruce Westbrook, Houston Chronicle: Offers a persuasive look at a defeated but defiant nation in flux. Read more
Lisa Schwarzbaum, Entertainment Weekly: It challenges, this nervy oddity, like modern art should. Read more
Rick Groen, Globe and Mail: Is it offensively bad or, that rarest of stinkers, intriguingly bad? Read more
Gary Dowell, Dallas Morning News: A mildly flawed but nonetheless compelling 'what if?' interpretation of the events that shaped a singularly hateful man. Read more
Ella Taylor, L.A. Weekly: Meyjes ... has done his homework and soaked up some jazzy new revisionist theories about the origins of Nazi politics and aesthetics. Read more
Jan Stuart, Newsday: Rich in atmosphere of the post-war art world, it manages to instruct without reeking of research library dust. Read more
Andrew Sarris, New York Observer: The 'what-ifs' involved have offended some people, but I found the movie fascinating for its subtext about art and politics, then as now. Read more
James Berardinelli, ReelViews: Max ignites when Taylor is on screen. It frequently becomes sluggish when the focus is exclusively on the title character and the individuals surrounding him. Read more
Roger Ebert, Chicago Sun-Times: Peculiar and intriguing. Read more
Mick LaSalle, San Francisco Chronicle: An intelligent film with a sophisticated understanding of art and the significance it played in Hitler's psychology. Read more
David Edelstein, Slate: As a ravishingly photographed, high-minded meditation on the potential of art and therapy to exorcise the vilest sort of psychological poison, it is positively riotous -- an Everest of idiocy. Read more
Jeff Strickler, Minneapolis Star Tribune: Read more
Geoff Pevere, Toronto Star: The movie tries, and largely succeeds, in putting a human face -- an ugly one -- on the otherwise incomprehensibly chilling mask of Nazi inhumanity. Read more
J. Hoberman, Village Voice: Although Max is a kitschy and often risible historical fantasy ... this Hungarian-Canadian-British co-production, directed by Meyjes from his own script, is not devoid of ideas. Read more