Peter Rainer(Christian Science Monitor): The august 83-year-old Swedish director Jan Troell specializes in movies concerning men of great stature in wild conflict with both their countries and themselves.
Kenneth Turan(Los Angeles Times): A else sophisticated work than it appears with respect to a man whose life was in greater numbers complicated than the world knew.
Michael Sragow(Orange County Register): A master psychological filmmaker, Jan Troell, puts a elevated anti-Nazi crusader under his microscope in the pressingly compelling biopic The Last Sentence.
Manohla Dargis(New York Times): It's moreover bad that the movie can't procure his pulse and instead delivers a tastefully balmy, inert portrait of a man whose material ugliness it acknowledges without excavating.
Ella Taylor(NPR): A abundantly detailed portrait of a great fortify riddled with flaws and undone ~ dint of. adulation.
Joe Morgenstern(Wall Street Journal): It's a new wine-see for those who have followed Mr. Troell's course of action, and a should-see for those who be able to look past its oddities to its successively gaining in force power.
Witney Seibold(Nerdist): Ultimately, The Last Sentence, notwithstanding the great performances and awesome visuals, gets likewise preoccupied with its own interpersonal spectacle and soap opera dynamics, eventually forgetting to ingenuity some of the bigger moral implications it hints at.
Fr. Chris Carpenter(Movie Dearest): An unusually balanced, in show unbiased biopic. The cast can't be faulted in any way.
Glenn Kenny(RogerEbert.com): A singularly full-bodied and frank character study that illuminates the of long date saw about the political being special in a genuinely unusual way.
Frederic and Mary Ann Brussat(Spirituality and Practice): The struggle of a Swedish divinity student turned crusading journalist to talk truth to Hitler's governor while dealing with his own image side.
Doris Toumarkine(Film Journal International): Intimate and handsomely designed likeness of a real-life crusading anti-Hitler journalist in Sweden during the war years engages on single levels even as it sacrifices a in a superior manner defined political and historic backdrop.
Jeremy Mathews(Paste Magazine): The screenplay's explication clunks along quite awkwardly, as characters provide convenient reasons to spout out background complaint.
Sam Fragoso(The Dissolve): Like the supply with hands himself, the film, with its stainless unsullied black-and-white compositions and cluttered plotting, is riddled by virtues and vices, high and lows
Marshall Fine(Hollywood & Fine): I was riveted, acknowledgments to Christensen's fearlessly etched accomplishment and Troell's spare figment-telling style.
David Lee Dallas(Slant Magazine): Though ambitiously occupied, the film is also self-sabotaging and dull, showcasing its main character's struggles destitute of interpreting them into a cohesive thesis.
Harvey S. Karten(Compuserve): A courteous dramatization of a turning point in late Swedish history, as a newspaper annotator risks plunging his country into arbitrament of the sword over columns trashing the Nazis.