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Connie Ogle, Miami Herald: Potter's exploration of modern love fractured by cultural differences can be absorbing even if it feels at times like an intellectual exercise. Read more
Allison Benedikt, Chicago Tribune: This is the kind of movie that nice people call ambitious. Read more
Moira MacDonald, Seattle Times: The verse quickly lifts the movie into a celebration of language, both spoken and unspoken. Read more
Mick LaSalle, San Francisco Chronicle: The film is mostly unbearable. Read more
Richard Roeper, Ebert & Roeper: Despite the talents and earnest intentions of writer/director Sally Potter and the terrific cast, I found Yes to be an unbearably pretentious and condescending art-house film with flashy, self-conscious camerawork, and lots of indie-film gimmicks. Read more
Steve Murray, Atlanta Journal-Constitution: The actors are so committed to Potter's vision, they persuade you to go along with them. Read more
Richard Nilsen, Arizona Republic: Your taste in movies may not be/ Quite so highbrow or so twee/ But Potter has a lot to say/ About the troubles of our day. Read more
Wesley Morris, Boston Globe: Those in search of a work of peerlessly stupefying intellectual vanity presented entirely in iambic pentameter should stop looking. It's right here. Read more
Kevin Thomas, Los Angeles Times: Bold, vibrant and impassioned, Yes is the work of a high-risk film artist in command of her medium and gifted in propelling her actors to soaring performances. Read more
Jonathan Rosenbaum, Chicago Reader: Overturns some of the usual assumptions about what movies can and should do. Read more
Lisa Kennedy, Denver Post: Writer-director Sally Potter has dived brilliantly off a 100-foot ledge to engage the aftermath of 9/11 with poetry. Read more
Lisa Schwarzbaum, Entertainment Weekly: Parse the philosophy behind the spill of words, though, and you'll find intellectual jumble, junk. Read more
Chris Vognar, Dallas Morning News: Chained to a stubborn insistence on iambic pentameter, determined to load its lovers down with geopolitical symbolism, Sally Potter's Yes is an ambitious stunt that must have sounded better in the filmmaker's head. Read more
John Anderson, Newsday: Potter's script is entirely in iambic pentameter -- stressed second beats, five such beats to a line -- which is clever enough, but any message becomes obscured by sheer distraction. Read more
Jami Bernard, New York Daily News: The actors are emotional, but the presentation is theoretical to the point of absurdity. Read more
A.O. Scott, New York Times: Yes offers a case study in the moral complacency of the creative class, and its verbal cleverness cannot disguise the vacuous self-affirmation summed up in the title. Read more
Andrew Sarris, New York Observer: Ms. Potter has gambled heavily with her ambitious conceit, and the bet has paid off magnificently: The loveliness of Yes is sublime. Read more
Roger Ebert, Chicago Sun-Times: Alive and daring, not a rehearsal of safe material and styles. Read more
Colin Covert, Minneapolis Star Tribune: Studded with wonderful moments when the characters cut loose. Read more
Liam Lacey, Globe and Mail: Rough-hewn as they are, Potter's verse, ranging from flowery to obscene, compels the viewer toward a fresh way of listening. Read more
Geoff Pevere, Toronto Star: Refreshing, innovative and unafraid of taking chances. Read more
Scott Foundas, Variety: Pic ultimately has nothing of any real depth or profundity to say, but a thousand self-consciously complex ways of saying it. Read more
Laura Sinagra, Village Voice: Potter's anachronistic rhyme schemes tumble forth with an out-damned-spot verve that rages against irrelevance. Read more
Desson Thomson, Washington Post: For those who accept Potter's premise -- and why not embark on a challenging, enriching experience? -- this is a unique, bold adventure of the soul. Read more
Ann Hornaday, Washington Post: It's a bold exercise, an interesting experiment, but a movie it ain't. Read more