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Reviews provided by RottenTomatoes
Terry Lawson, Miami Herald: In his first feature film, Schorr also shows a surprising confidence in his ability to sustain this joke for nearly two hours, which, like a zydeco dance party, is over before you know it. Read more
Jeff Shannon, Seattle Times: Schorr's award-winning film may be a bit on the slight side to some tastes, but it's a journey well worth taking. Read more
Allison Benedikt, Chicago Tribune: Schorr steers clear of emotion and character development, content to just putter down the river to nowhere. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: Like a lazy summer day in the Big Easy, the movie sneaks up on you. Read more
Bill Muller, Arizona Republic: He does, but you probably won't, especially from watching this movie. Read more
Ty Burr, Boston Globe: One of those movies where nothing whatsoever seems to happen until you look closely, at which point everything happens. Read more
Kevin Thomas, Los Angeles Times: Simply too tedious and stretched out to be amusing. Read more
Lisa Kennedy, Denver Post: The first-time feature director has a gift that will be interesting to watch. Still, his well-executed choices make Schultze at times slow going. Read more
Chris Vognar, Dallas Morning News: Schultze Gets the Blues can get a little thin, but it never loses its sense of quiet, playful dignity. Read more
Ella Taylor, L.A. Weekly: Schorr's delightfully deadpan comedy debut blew away the German box office, and once you let yourself sink into its gentle rhythms ... you'll see why. Read more
John Anderson, Newsday: A rough-cut wonder, a movie that evolves from Teutonic inertia into a deadpan polka, a bouquet of edelweiss tossed into the melting pot. Read more
Stephen Whitty, Newark Star-Ledger: Director Michael Shorr's setups are slow and static, with the action unfolding in long or medium shots. In several concert sequences, the dancers annoyingly look right at the camera. Read more
Elizabeth Weitzman, New York Daily News: Reminiscent of the films of Aki Kaurismaki and Jim Jarmusch, this wry, very slow German import by Michael Schorr has amusing moments but doesn't possess the droll absurdity needed to make it genuinely compelling. Read more
Stephen Holden, New York Times: Schultze Gets the Blues rediscovers the world through the astonished eyes of a retired German salt miner on a musical pilgrimage to the United States. Read more
Roger Ebert, Chicago Sun-Times: The writer and director, Michael Schorr, is making his first film, but has the confidence and simplicity of someone who has been making films forever. Read more
Walter V. Addiego, San Francisco Chronicle: A genuinely endearing soul, Schultze earns our admiration not because he indulges himself in a senior citizen's lark but because his journey, like our hero himself, has depths we hadn't suspected. Read more
Liam Lacey, Globe and Mail: Highly original, bittersweet comedy. Read more
Susan Walker, Toronto Star: Winner of the special prize for directing at the 2003 Venice International Film Festival, Schorr has made an impressive debut. Read more
Edward Crouse, Village Voice: What hints at a wacky one-note polka -- staid, retired German miner and accordion hobbyist upends his life upon hearing zydeco -- ends up an intricate, becalmed take on a soul adrift. Read more
Desson Thomson, Washington Post: Writer-director Michael Schorr has made a sweet movie that takes its time at first but soon takes you over. Read more
Ann Hornaday, Washington Post: Michael Schorr's endearing little movie gets under your skin much like the music it celebrates, delivering a lilting paean to self-expression and second chances, even while it's tinged with distinctly minor-key grace notes. Read more