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Reviews provided by RottenTomatoes
Moira MacDonald, Seattle Times: A loving tribute to artists, and to art. Read more
Michael Wilmington, Chicago Tribune: The film achieves that poetry of motion and lyrical delight musical films always strive for but rarely capture. Read more
Richard Roeper, Ebert & Roeper: It's a beautiful tribute to the Joffrey Ballet. Read more
Ty Burr, Boston Globe: Feels like a documentary that's missing the surprises of real life. Read more
Kevin Thomas, Los Angeles Times: Makes the world of ballet, seen by so many as rarefied, accessible and exciting, a rigorous art that yields breathtaking results. Read more
Eric Harrison, Houston Chronicle: The dances are beautiful, and the way the dancers live and interact have the ring of truth. Read more
Lisa Kennedy, Denver Post: In straining to mix the real story of ballet's demands with a romance, The Company fails to capture our imaginations. Read more
Owen Gleiberman, Entertainment Weekly: Watching it, I felt by turns engrossed, detached, dazzled, bored, curious, enlightened, and moved. Read more
Liam Lacey, Globe and Mail: A love letter to performers who put their egos and bodies on the line. Read more
Chris Vognar, Dallas Morning News: It gives you the opportunity to experience the daily lives of trained, very talented and temperamental performers. And it invites you to pull up a seat and watch them do what they do best. Read more
Scott Foundas, L.A. Weekly: Fails to catch us up in the workaday intrigues of its characters (most of whom are played by real Joffrey dancers) the way Altman can when he's working in top form. Read more
Rene Rodriguez, Miami Herald: Utterly transfixing, a pure and heartfelt ode to artistic expression and the creative process. Read more
John Anderson, Newsday: The dancing is fantastic. We get glimpses of the ballet dancer's life, the extra jobs, the injuries, the sex, the noise, the heartbreak and the egos. But the drama in The Company is all in the legs and the feet. Read more
Peter Rainer, New York Magazine/Vulture: Read more
Stephen Whitty, Newark Star-Ledger: Dancers are injured and affairs are begun, but no drama ever arises. Read more
Jami Bernard, New York Daily News: Altman's reverence for ballet, respect for the dancing life, and even his voyeuristic view of the ballerinas' bodies carry the viewer along effortlessly. Read more
Elvis Mitchell, New York Times: Robert Altman's new film, which follows a Chicago-based dance troupe through a few months of its regular season, is enjoyably lithe and droll. Read more
Jay Boyar, Orlando Sentinel: Altman ... whose intuition for placing the camera in just the right spot has always been impressive. In the dance scenes, it's flawless. Read more
James Berardinelli, ReelViews: This is a dull, lifeless production that will find favor only with those with an insider's perspective or who feel compelled to praise the acclaimed director's every film, no matter how out-of-touch and pretentious it may be. Read more
Roger Ebert, Chicago Sun-Times: Why did it take me so long to see what was right there in front of my face -- that The Company is the closest that Robert Altman has come to making an autobiographical film? Read more
Charles Taylor, Salon.com: Robert Altman's surpassingly beautiful ballet movie feels lighter than air -- but in fact it's the great director's most tender and memorable film in years. Read more
Ruthe Stein, San Francisco Chronicle: Lacks what could kindly be called coherence. Read more
Jeff Strickler, Minneapolis Star Tribune: Altman is a master at blending ensemble casts ... but there's little he can do with these nondescript characters, who quickly blend into a faceless morass. Read more
Peter Howell, Toronto Star: The measured pace of The Company could tax the patience of some, but the dancing is so well executed, and so energetic, that only the most dance-averse members of the audience would likely object. Read more
Todd McCarthy, Variety: Altman takes an elegant, appealingly unemphatic look at the world of ballet. Read more
Michael Atkinson, Village Voice: Essentially a doodle interrupted by nouveau ballet performances, the entire contraption assembled to please the ego of Neve Campbell. Read more