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Stephen Holden, New York Times: As smart as it is, 'Pi' is awfully hard to watch. Filmed with hand-held cameras in splotchy black-and-white and crudely edited, it has the style and attitude of a no-budget midnight movie. Read more
Joe Morgenstern, Wall Street Journal: Read more
Bill Boisvert, Chicago Reader: Pi turns what should be a metaphoric relationship into a stupefyingly literal-minded thriller. Read more
Liam Lacey, Globe and Mail: Audacious and bursting with ideas. Read more
James Berardinelli, ReelViews: Transports us to a world that is like yet unlike our own, and, in its mysterious familiarity, is eerie, intense, and compelling. Read more
Roger Ebert, Chicago Sun-Times: The seductive thing about Aronofsky's film is that it is halfway plausible in terms of modern physics and math. Read more
Laura Miller, Salon.com: The movie's low-budget look neatly matches the claustrophobia of Max's life, but the filmmakers have also devised some special shooting methods for certain scenes. These sequences -- breathless and jangly chases, for the most part -- look terrific. Read more
Bob Graham, San Francisco Chronicle: It all leads to a very strange place, and I'm particularly impressed with the economical means, both financially and artistically, by which Aronofsky gets there. Read more
Richard Corliss, TIME Magazine: Aronofsky, who has parlayed this movie's Sundance success into two Hollywood deals, is that rare indie filmmaker who doesn't want to make hip romantic sitcoms. He's a genuine experimenter with a spooky visual style. Read more