By Andrew O'Hehir
Gitai's experimental technique in Free Zone is dizzying, sometimes thrilling.
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Entertainment Weekly

By Lisa Schwarzbaum
Natalie Portman demonstrates tour de force weeping in the back of a taxi as an American searching for her roots in Israel.
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TV Guide

By Ken Fox
Unfortunately, the characters feel more like symbols than people, despite strong performances, including what might be Portman's finest work to date.
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For all its intelligence, Free Zone has disappointingly little to say.
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Boston Globe

By Wesley Morris
A minor movie on a major subject, a drama with an almost unbearable lightness.
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By Derek Elley
Amos Gitai's most satisfying pic since war drama "Kippur." Schematic set-up is given a human face by fine performances and a physical journey that's often more interesting than the characters' emotional ones, which are weakened by the Israeli auteur's tendency toward convenient doctrinaire-ism and chunks of expository dialogue.
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Portland Oregonian

By Marc Mohan
Free Zone is similar to the car-based films of Iranian filmmaker Abbas Kiarostami but with a more improvised, less-finished feel.
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New York Daily News

By Jack Mathews
The movie works best as a car's-eye travelogue of Jordan. And the three women might be good company on another, less stressful trip. Say to the Caribbean.
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New York Post

By V.A. Musetto
The three women deliver solid performances, but the film is diluted by the use of flashbacks superimposed over present-time scenes. The result is visual chaos.
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The Hollywood Reporter

A road picture mired by unsteady camera work, lackadaisical pacing and cumbersome speechmaking, Free Zone is an excruciating cinematic trek. Israeli director Amos Gitai's narrative, both visually and conversationally, is a disappointing dud.
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51 out of 100
Mixed or average reviews
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.