The Tree 2010

Tom Long, Detroit News: In the end, The Tree is something of a stretch; but it's a good stretch, a mix of mysticism and family dynamics both satisfying and intriguing. Read more

Wesley Morris, Boston Globe: This is an easy movie to watch. If only Julie Bertuccelli had more trust in her most interesting stuff. Read more

Owen Gleiberman, Entertainment Weekly: A movie that's content to stand still. Read more

Moira MacDonald, Seattle Times: Beautifully filmed in the harsh, dry landscape, "The Tree" is often mesmerizing... Read more

Stephen Holden, New York Times: The movie is truly a tree-hugger's delight (I confess to being one such hugger) that makes the most of its metaphors without straining toward supernatural schmaltz. Read more

Sam Adams, Time Out: The movie's mundane account of moving on is ultimately more gripping than its wooden metaphors. Read more

Noel Murray, AV Club: The Tree is well-acted, and Bertuccelli successfully makes some obvious metaphors come off as unforced. Read more

Ray Bennett, Hollywood Reporter: It's well worth seeing the performance of young Morgana Davies as Simone, a child who becomes convinced that her late father speaks and listens to her through the comforting branches of the tree next to her house. Read more

Sheri Linden, Los Angeles Times: Bertuccelli uses the scrubbed topography of Queensland, Australia, to mostly eloquent effect, although her mystical symbols can be as on-the-nose as her dialogue. Read more

Scott Tobias, NPR: In the end, the metaphor dominates. At every turn, the fig tree makes a statement. Read more

Joe Neumaier, New York Daily News: "The Tree" falls short of being revelatory, yet has a mysterious, sturdy power that grows on you. Read more

V.A. Musetto, New York Post: "The Tree" is slow-moving, but if given a chance, it will (pardon the pun) grow on you. Read more

Steven Rea, Philadelphia Inquirer: Despite the potential for some supernatural grandiosity, the tone here remains understated and quiet, and Gainsbourg's performance feels lived-in, and deep, and right. Read more

Mick LaSalle, San Francisco Chronicle: It's simply vagueness. Read more

Colin Covert, Minneapolis Star Tribune: The arboreal metaphor is overworked as the tree's roots choke off the rural home's water supply, but the story has a winning, fable-like directness. Read more

Calvin Wilson, St. Louis Post-Dispatch: "The Tree" might have suffered from too much symbolism if not for writer-director Julie Bertuccelli's deft touch and Gainsbourg's appealing performance. Read more

Liam Lacey, Globe and Mail: By the time we reach the climactic ending, the script clearly calls for an exorcist with a chainsaw to trim back this metaphor run amok. Read more

Alonso Duralde, TheWrap: What makes The Tree feel like a movie about actual people and not just writer's constructs are the powerful performances by Gainsbourg and young Davies. Read more

Trevor Johnston, Time Out: Unusual and endearing. Read more

Greg Quill, Toronto Star: It's a small film, almost a parable in its simplicity and predictability, but it gains extra strength from its hybrid industrial origins. Read more

Robert Koehler, Variety: The film's fairly blunt expository dialogue might have been usefully trimmed, but the elemental conflict is expressively filmed. Read more

Melissa Anderson, Village Voice: In her second film, writer-director Julie Bertuccelli is sometimes partial to clumsy dialogue. But Gainsbourg and Davies, almost feral with her mass of untamed blond curls, make a memorable parent-child pair. Read more

Michael O'Sullivan, Washington Post: It's not exactly subtle. But it works. Read more