The Book Thief (2013)

Osenlund finds the film compassionate and lyrical despite some schmaltz and a near-derailing final act. He praises its warm natural light and imagery that makes books a symbol of loss and possibility.

Harvey finds the adaptation quietly effective and engaging, though its restraint and slow pace may limit its emotional impact. He praises the performances, especially Geoffrey Rush’s warmth and humor and Ben Schnetzer’s appealing portrayal of Max.

Kenigsberg finds the film an absorbing melodrama despite its clumsy narration and occasional sentimentality. He singles out Sophie Nélisse’s performance, especially her scenes with Geoffrey Rush, for praise.

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Johnston gives the adaptation a three-star verdict. He singles out its emphasis on ordinary Germans who resisted Nazi propaganda.

Bradshaw finds the film moving but ultimately underwhelming and too safe for its weighty themes. He singles out the performances, especially the young cast, as its saving strength.

Freer finds the film handsome and engaging but lacking dramatic urgency and emotional heft. He praises the performances, especially Geoffrey Rush’s warmth and humour.

Brody finds the film sincere and competently made, but oddly muted in its treatment of the Holocaust. She praises the warm cinematography and production design, while faulting the story’s dangers for lacking emotional force.

Farber finds the film earnest and admirable in intent, but too languid and lacking tension to fully succeed. He praises the performances, especially Sophie Nelisse’s expressive portrayal of Liesel.

The review gives the film two stars, finding its adaptation faintly unrealistic despite its sumptuousness. It singles out the film’s sumptuous presentation for praise, while criticizing its unrealistic feel.

Ebiri finds the film familiar and stodgy, despite its worthwhile ideas and polished execution. He praises the performances, especially Emily Watson’s, and singles out a story invented by Liesel as an effective moment.

Abele finds the adaptation a staid, wishful treatment of a catastrophic period, despite its serviceable performances. He criticizes its reluctance to confront the Holocaust and its emphasis on uplift over historical unease.

Kermode finds the adaptation staid and over-restrained, unable to blend its moral observations with its metaphysical elements. He praises the strong performances, especially from the younger cast, but says the film’s tasteful cosiness smothers its story.

O'Sullivan strongly condemns the film as a sentimental, historically miseducating account of the Holocaust. She praises Sophie Nelisse's poise and ability to make her character convincing.

The critic dismisses the adaptation as a soft, meaningless treatment of wartime Germany. They particularly fault Death’s whimsical narration and the film’s snow-globe prettiness.

Kaye finds the adaptation elegant and earnest, with a devastating emotional payoff. He particularly praises the performances, especially Geoffrey Rush’s heartfelt turn as Hans Huberman.

Shiverdecker calls the film genuine and emotionally resonant, while noting its muted look and slow pace. He praises Sophie Nélisse’s performance and the way the film balances its heavy subject matter with moments of levity.

The review finds the film emotionally engaging but too narratively tidy and lacking in moral complexity. It praises the performances of Geoffrey Rush, Emily Watson, and Sophie Nélisse, whose work helps keep the story compelling.

The review finds the adaptation handsomely made but overly familiar and reluctant to explore its subject fully. It praises Sophie Nélisse’s deft, spirited performance, while faulting the film for signposting its twists and avoiding harder questions about fascist propaganda.

Pape finds the film emotionally detached, cliched and overly sentimental, despite the power of its subject. He praises the period setting and John Williams’s score, and singles out Geoffrey Rush’s sincere performance.

Robertson finds the film competent and occasionally compelling, but ultimately flawed and not as transporting as its source. He praises the performances and visual design, while faulting the plodding pace, heavy-handed narration, and jarring shifts between languages.

The critic finds the adaptation well-intentioned but uneven, with limited appeal beyond families and fans of the novel. They single out Death’s intrusive, recurrent voice-overs as a major flaw.