The Rapture (1991)

Uhlich finds the film profound and quietly rapturous, praising its treatment of Sharon’s free will amid religious and patriarchal forces. He singles out Mimi Rogers’s brave, spectacular performance and the calm, chilling delivery of the final line.

Turan finds the film compelling, audacious, and thoughtful in its probing of faith and the afterlife. He particularly praises Mimi Rogers’s fearless performance and Michael Tolkin’s dispassionate handling of challenging theological ideas.

Tobias praises the film as an audacious, thought-provoking work that takes religious faith and divine judgment seriously without embracing them. He singles out its defiant conclusion for its provocative challenge to the idea of God's justice.

Newman finds the film’s unsettling intensity ultimately effective, though its mood shifts may not work for everyone. He particularly praises the central performance and the atmosphere of dread and wonder.

The page is inaccessible, so the critic’s verdict cannot be established. No specific praise or complaint can be verified from the available text.

Sellers describes the film as ambitious, challenging and intelligent, despite some imperfections. He especially praises Mimi Rogers’s bravura performance as a bored telephone operator drawn into a fundamentalist religious movement.

Variety finds the film an unexpectedly serious exploration that struggles between profundity and pretentiousness, while still marking a distinctive debut for Michael Tolkin. It praises Mimi Rogers’s commanding, soul-baring performance and Bojan Bazelli’s luminous cinematography.

The critic finds the film unfortunately loony and ultimately risible. Its final stretch is singled out for becoming cherishably ridiculous.

Porter finds the film audacious and potentially devastating, though its ideas and drama can become muddled and manipulative. He especially praises Mimi Rogers’s performance and the film’s openness to interpretation.