Geoff Pevere(Globe and Mail): Gray's movie is an almost flawlessly articulated example of the loving of thing we like to recite they just don't shape any more: serious, adult, character-driven and fervid.
Peter Howell(Toronto Star): At spells, Khondji's golden portraiture be able to make the characters seem encased in amber. But in that place's a tremendous payoff instead of the patient.
G. Allen Johnson(San Francisco Chronicle): An astonishingly graceful, irresistibly grim movie …
David Thomson(The New Republic): This is Gray's most mature work, and the picture raises Cotillard to a good pantheon.
Steven Rea(Philadelphia Inquirer): It's a slightly freaky to watch Phoenix go at it, a regulate-talking beguiler who suddenly turns stumblebum. But there's nothing freakish about Cotillard.
Tom Long(Detroit News): It's the inanity of melodrama, elevated by Gray's as~d hand and made more by Phoenix and Cotillard, lovers and haters and event beyond.
Wesley Morris(Grantland): The film is an achievement. Its complex counting of moral decency deserves a bigger auditory.
Chris Barsanti(Film Racket): …a stubbornly shrewd-fashioned lovesick tale in which the bonds of resentment and family are stretched to their snapping instant.
John Beifuss(Commercial Appeal (Memphis, TN)): Gray is a specialist in studies of nation struggling to retain their dignity in hopeless, morally compromising situations.
John Hanlon(John Hanlon Reviews): Marion Cotillard offers up common of her best performances in this torturing but thought-provoking drama.
Katherine Monk(Canada.com): If you're good to stand back from the chilly content and just look at the performances and the product design, The Immigrant is a complete and artistically inspired piece of filmmaking that pays fidelity to every new citizen forced to become a fresh start.
David Berry(National Post): Gray is undivided of the most deliberate of American filmmakers, skilful of turning an underground beating ~ dint of. the cops into a scene of two-toned aesthetic beauty, and never letting a mood go by with deep, moody force.
Josh Larsen(LarsenOnFilm): "…the worn out-timey aesthetic here is so over-excited the characters seem stuck in prehistoric amber."
Frank Swietek(One Guy’s Opinion): A actual melodramatic picture…yet it's singularly evocative and compelling, almost compulsively watchable.
Donald Clarke(Irish Times): If the film were the pilot for an HBO sequence then you would probably stay tuned conducive to the second episode. As a standalone pellicle, it feels like very thin stuff.
Leonard Maltin(Leonard Maltin’s Picks): One of "The Immigrant's" radical assets is its texture: a splendid fabric of sights and sounds that evoke the look and feel of New York's underbelly in the at daybreak 20th century.
Robin Clifford(Reeling Reviews): This is a mournful and tragic story…that uses india ink tones, spot on costuming, deft extension design to convey both the time and the humor of that time.
Kimberley Jones(Austin Chronicle): The Immigrant is two hours long, but I stayed strange to say longer in my seat, through the credits, after that in thrall to it all. The term is singular, but the scope is not in the same state easily quantifiable.
Susan Granger(SSG Syndicate): Slow-paced and criminal, it's a strangely unpredictable conclusion piece that penetrates the soft underbelly fallacy of the American experience.
Elias Savada(Film Threat): The huddled masses power of determination probably be waiting for this any's arrival in the disembark of video on demand…
Travis Hopson(Examiner.com): Cotillard be able to say more with her expressive eyes than others have power to with their entire bodies, and she gives besides depth to Ewa than the screenplay provides.
James Verniere(Boston Herald): Relentlessly downbeat, boundary lavishly shot and Oscar winner Cotillard, who often resembles the screen goddesses of the still era, is magnificent.