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Peter Debruge, Miami Herald: Director Emanuele Crialese passes no judgments, capturing the mundane and miraculous alike. Read more
Moira MacDonald, Seattle Times: [Director] Crialese ends his film on an exquisite note of fantasy: an indelible image of hope and good fortune. His vision is unique; his film, strange and lovely. Read more
Michael Wilmington, Chicago Tribune: An often lyrical and moving movie. Read more
David Fear, Time Out: Can someone please call for a moratorium on gratuitous magical realism? Read more
David Edelstein, New York Magazine/Vulture: The rhythms of the movie are slow and daydreamy, but [director] Crialese delights in breaking up the realism with his protagonist's mystical -- almost madcap -- visions of the New World's abbondanza. Read more
J. R. Jones, Chicago Reader: The folkloric tone that seemed so pretentious in [Respiro] is powerfully effective here. Read more
Joe Morgenstern, Wall Street Journal: After countless films in which immigration plays a central role you'd think the canon was essentially complete. Yet this visionary work adds to it by combining harsh realities with magic-realist fantasies. Read more
Scott Tobias, AV Club: It excels at documenting the humiliating (and sometimes terrifying) physical and mental tests that face these weary travelers. Read more
Richard Nilsen, Arizona Republic: The film never really coheres, and although some scenes are amazing, the total is slow, ponderous and sometimes silly. Read more
Wesley Morris, Boston Globe: A movie about immigration that even Lou Dobbs can get behind. It's so hypnotically breathtaking, you don't realize you're not breathing. By the final shot, you don't realize you're crying either, but there go the tears. Read more
Carina Chocano, Los Angeles Times: [A] beautiful, spacey, trans-oceanic odyssey. Read more
Bruce Westbrook, Houston Chronicle: Its minutiae don't bring a lump in the throat -- just a drumming of the fingers. Read more
Christy Lemire, Associated Press: A STRIKINGLY shot tale of Sicilian villagers seeking a better life in America, Golden Door is so minimalist, it's practically a silent film. Read more
Peter Rainer, Christian Science Monitor: [A] draggy Italian epic that's big on production values but skimpy on inspiration. Read more
Gregory Kirschling, Entertainment Weekly: Despite a few welcome bits of whimsy, Door feels as long as a transatlantic voyage. Read more
Terry Lawson, Detroit Free Press: Turns an old story into something completely new. Read more
Stephen Whitty, Newark Star-Ledger: A modest film, both in its aims and the emotions it solicits. Read more
Jack Mathews, New York Daily News: The movie never really comes alive, and [director] Crialese's coyness with Lucy's character is more frustrating than mysterious. Read more
V.A. Musetto, New York Post: The acting is superb, especially the always alluring Charlotte Gainsbourg as a mysterious Englishwoman taking the ship to America. Agnes Godard's lensing is painterly, and Crialese's direction is seamless. Read more
Roger Moore, Orlando Sentinel: Yes, the details are spot-on and realistic in the extreme. But we've seen them before. It's the story Crialese hangs this detail on that's weak. Read more
Steven Rea, Philadelphia Inquirer: There's an old Zen saying, 'It's the journey, not the destination.' The Golden Door offers an extraordinary journey of its own. Read more
Andrew O'Hehir, Salon.com: A defiantly idiosyncratic film that summons the spirits of great Italian directors long past. Read more
Teresa Budasi, Chicago Sun-Times: A three-paneled piece, where the strength lies in the detail work rather than the larger brushstrokes. Read more
Liam Lacey, Globe and Mail: Unfolding like a gorgeous coffee-table book of photographs, Emanuele Crialese's film Golden Door is as lovely to look at as it is dramatically inert. Read more
Rob Salem, Toronto Star: I've got to be honest here. In the interest of full disclosure, I must confess that I was not entirely awake all the way through. Read more
Jay Weissberg, Variety: An imaginative, intelligent and attractive Italo pic precisely when the country needs it most. Read more
Jean Oppenheimer, Village Voice: Emanuele Crialese's poetic tale of emigration at the turn of the 20th century follows an illiterate Sicilian farmer (Vincenzo Amato) and his family who, after seeing doctored photographs of money growing on trees, set their sights on America. Read more
Ann Hornaday, Washington Post: Italian director Emanuele Crialese has infused the age-old plot with dazzling visual style, dollops of magical realism and profound emotional truth that infuse what we think we know with new verve and resonance. Read more