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Reviews provided by RottenTomatoes
Christy Lemire, Associated Press: Bier, in her American debut, mostly keeps things simple and intimate, though, by using hand-held cameras, extreme close-ups and flooding the proceedings with spare, natural light. Read more
Michael Phillips, Chicago Tribune: Consistently well-acted and, for a studio picture, pretty sharp on the subject of addiction and recovery and relapse. Read more
Moira MacDonald, Seattle Times: A wistful and often lovely film. Read more
J. R. Jones, Chicago Reader: Bier is one of the cinema's most acute observers of intimate relations, her Scandinavian reserve muting the inherent melodrama of her material, and she draws piercing, modestly scaled performances. Read more
Joe Morgenstern, Wall Street Journal: Del Toro is the heart and soul, as well as the haunted, rubbery visage, of a story of grief and loss that would be fairly lifeless without him. Read more
Wesley Morris, Boston Globe: [Benicio Del Toro's] is the only character with human flaws, and in a movie perfect people tend to be boring. Read more
Kenneth Turan, Los Angeles Times: Though it is erratic and can come off as manufactured, this film has the gift of gathering strength as it goes on. It harnesses the talents of stars Halle Berry and Benicio Del Toro in ways that ultimately make us sit up and take notice. Read more
Detroit News: Serves as strong reminder of what a powerfully charismatic and completely natural actor Benicio Del Toro is. Read more
Lisa Schwarzbaum, Entertainment Weekly: A safely false, glamorized weepie. Read more
Terry Lawson, Detroit Free Press: Though it flirts with melodrama to the tipping point, the movie, like the characters played by Berry and her costar Benicio Del Toro, ultimately makes connections too honest, hopeful and human to induce guilt on the part of any open-hearted moviegoer. Read more
Chris Vognar, Dallas Morning News: A supple and angular story of grief. Read more
Amy Nicholson, I.E. Weekly: Scheduled blowups and symbolic dreams and interminable tears until we all feel like we've learned a little something about loss: We want our two hours back. Read more
Julia Wallace, L.A. Weekly: In Danish director Susanne Bier's first American effort, the camera lingers so long and lusciously on its lead actress's perfect little pores that it quickly starts to resemble a Neutrogena commercial. Read more
John Anderson, Newsday: [Director] Bier is graceful, observant of small details, but her efforts to mine a greater meaning through the camera than Loeb has put on the page is a fruitless endeavor. Read more
Stephen Whitty, Newark Star-Ledger: A movie about loss and mourning and bottomless sadness. But its very production is, on another level, a reason to celebrate. Read more
Jack Mathews, New York Daily News: Berry gives a riveting performance, but as a deeply decent man trapped in a hell of his own making, Del Toro gives the kind of career performance Berry gave in Monster's Ball. Read more
Kyle Smith, New York Post: This movie is the most irritating example yet of how both film and TV have taken to shooting even the phoniest, soapiest stories with that drunken, shaky, ultra- close-up camerawork that says, 'Hey, look at us! We're being all documentaryish!' Read more
Rex Reed, New York Observer: A welcome relief from all the war and violence we've been getting lately, it's a wonderful, heartfelt experience, executed with meticulous principles and penetrating artistry. Read more
Andrew Sarris, New York Observer: Things We Lost in the Fire is certainly not a comedy, but it is definitely mordant with its two Big Themes: Loss and Addiction, both treated in a singularly heavy-handed manner, for which I blame primarily Mr. Loeb's screenplay. Read more
Roger Moore, Orlando Sentinel: Read more
Carrie Rickey, Philadelphia Inquirer: Lacks the urgency of [director Bier's] Danish films. Read more
James Berardinelli, ReelViews: Things We Lost in the Fire deals frankly and openly with the wounds -- some obvious, some not so obvious -- that are left by the tragic, untimely loss of a loved one. At times, the film is unsparing. Read more
Roger Ebert, Chicago Sun-Times: The movie is an engrossing melodrama, and it has its heart in the right place. Read more
Walter V. Addiego, San Francisco Chronicle: [Director] Bier knows the difference between drama and melodrama. Read more
Liam Lacey, Globe and Mail: Apart from the mobile camera and a moderately challenging time-jumping script, this is weepy women's cable-television fare of the tears-and-cuddles variety. Read more
Susan Walker, Toronto Star: If this were a Susanne Bier film made on her home turf we'd feel a lot more wrung out by the movie's end. Instead we're just worn out. Read more
Claudia Puig, USA Today: Its deliberate pacing may put some viewers off, as will the bleakness of the subject matter, but it's worth seeing, mostly to soak up the complex shades of Del Toro's performance. Read more
Todd McCarthy, Variety: A live-wire performance by Benicio Del Toro sparks an otherwise morose study of loss, addiction and catharsis. Read more
Stephen Hunter, Washington Post: Things We Lost in the Fire veers away from the real and hard and toward the fantastic. Read more