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Terry Lawson, Detroit Free Press: The brilliance of The Pianist, a film that stands with any of the great dramas about the Holocaust, is not that its story is so unbelievable, but that it is so relentlessly matter-of-fact. Read more
Rene Rodriguez, Miami Herald: Brody tracks Szpilman's descent from smug celebrity to feral, starving man with uncommon subtlety. Read more
Richard Roeper, Ebert & Roeper: This is one of Polanski's best films. Read more
Moira MacDonald, Seattle Times: The Pianist is a devastating story of survival, and a tribute to the redemptive powers of art. Read more
Michael Wilmington, Chicago Tribune: The Pianist is the film Roman Polanski may have been born to make. Read more
A.O. Scott, New York Times: One of the very few nondocumentary movies about Jewish life and death under the Nazis that can be called definitive. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: In creating his one-man epic, Polanski takes us beyond the horror of evil or the banality of evil. He takes us into its hideous absurdity. Read more
Ty Burr, Boston Globe: Polanski's achievement here is to avoid the Holocaust porn of post-Schindler's List cinema and show us the ghetto's daily grind. Read more
Manohla Dargis, Los Angeles Times: With The Pianist, Polanski's strange genius serves Szpilman's remembrance and, in doing so, rescues his legacy from the blunder of much of the director's recent work. Read more
Eric Harrison, Houston Chronicle: There seems to be no end to movies that deal with the Holocaust, but The Pianist, in its craftmanship and its approach to the tale, is a story we haven't seen before. Read more
Lisa Schwarzbaum, Entertainment Weekly: A movie of riveting power and sadness. Read more
Liam Lacey, Globe and Mail: Brody's performance is flawless, graduating ever so gradually from ironic resignation to pure animal desperation. Read more
Philip Wuntch, Dallas Morning News: The Pianist lacks the quick emotional connections of Steven Spielberg's Schindler's List. But Mr. Polanski creates images even more haunting than those in Mr. Spielberg's 1993 classic. Read more
Ella Taylor, L.A. Weekly: It will break your heart many times over. Read more
John Anderson, Newsday: Cartoonish in some parts, ham-handed in others and very un-Polanski. Read more
Peter Rainer, New York Magazine/Vulture: It's Roman Polanski's strongest and most personally felt movie. Read more
James Berardinelli, ReelViews: Not since 1974's Chinatown has Polanski reached such dramatic heights. Read more
Roger Ebert, Chicago Sun-Times: This is not a thriller, and avoids any temptation to crank up suspense or sentiment; it is the pianist's witness to what he saw and what happened to him. Read more
Charles Taylor, Salon.com: In The Pianist, Polanski is saying what he has long wanted to say, confronting the roots of his own preoccupations and obsessions, and he allows nothing to get in the way. Read more
Mick LaSalle, San Francisco Chronicle: The Holocaust has been the subject of many films. The Pianist is one of the great ones. Read more
Geoff Pevere, Toronto Star: This is the story of someone who lived to tell an unspeakable tale, told by someone with stories enough to do justice to its integrity. Read more
Richard Schickel, TIME Magazine: We admire this film for its harsh objectivity and refusal to seek our tears, our sympathies. Read more
Geoff Andrew, Time Out: Old-fashioned in both visual and narrative style and in its overall restraint, the film clearly benefits from the director's first-hand knowledge of the territory. Read more
J. Hoberman, Village Voice: Exhibits an admirable economy -- at least for its first half. Read more