Offret 1986

Kevin Thomas, Los Angeles Times: As The Sacrifice comes full circle, returning to that spindly tree by the sea and its nurturing, the film itself emerges as a symbolic gesture of great emotional impact. Read more

Richard Corliss, TIME Magazine: In The Sacrifice, the cryptic Tarkovsky style helps create a towering cathedral. Read more

Walter Goodman, New York Times: The Sacrifice is a stunningly beautiful film that holds your attention even while you feel slightly stunned, in a less welcome way, by what is actually going on. Read more

Richard Brody, New Yorker: A grand, unworldly, even antiworldly religious vision that depends on its perfect pitch to avoid absurdity and bathos. Read more

Roger Ebert, Chicago Sun-Times: The Sacrifice is not the sort of movie most people will choose to see, but those with the imagination to risk it may find it rewarding. Read more

Derek Adams, Time Out: For those willing to acccept the tenets of Tarkovsky's cinema of spiritual quest, his esoteric notions of Christian iconography and his obscure approach to cinematic meaning, the film can seem nothing less than miraculous. Read more

Variety: Read more

Sam Weisberg, Village Voice: Only those who still quiver at the shopworn lament that advancing technology is destroying the world will find the philosophizing vital in this bookish stupor. Read more

Desson Thomson, Washington Post: Tarkovsky pulls you into a dark, foreboding nightmare and Nykvist [Bergman's former cameraman] gives that nightmare an explosive awakening. Read more

Hal Hinson, Washington Post: It's a paradox: a sublime failure. For all its stunning, poetic imagery, it's almost impossible to sit through. Read more