Critic scores range from 0 to 100, with higher scores indicating more favorable reviews.
An eccentric period melodrama with horror-flick overtones. Occasionally incoherent but never dull, the movie brims with weird imagery. Read full review
Dominik Moll downplays the overtly scandalous nature of the story, at least for a while, with a leisurely pace heavy on imagery. He’s made a beautiful-looking film that portends disaster. And disaster arrives, eventually. It just takes its time getting there. Read full review
The finale, in which godly rites are juxtaposed against the vilest of sins, builds to an unholy power. Read full review
It is not a story of great depth or passion, but there are intriguing and unsettling moments on its well-crafted surface. Read full review
Director Dominik Moll makes some odd style choices – like Looney Tunes-style ‘iris wipes’ – and it’s a while before Cassel fully embraces his dark side, yet his customary charisma is what seals The Monk’s redemption. Read full review
The sense of old-school piety as lust under inhuman pressure is juicy and polished, if a little earnest about spiritual conflict and too entranced with its LOTR-ish medieval trappings. In fact, as monksploitation goes, Dominik Moll’s film is sober and straight when it should be crazy and hot-blooded. Read full review
An austere, cerebral reading of a book which is unfettered, blood-bolstered and wildly sensationalist — Lewis is the father of torture porn, not a master of subtle chills. It’s interesting and unsettling, with a charismatic lead performance, but nowhere near as shocking as it should be. Read full review
Moll's restraint gives way to a tastefully overwrought checklist of Gothic imagery. In the cloistered shadows and the harsh Castilian sun, the visuals are handsome, even as the movie threatens to tip into parody. Read full review
Ultimately the movie disappoints, falling between two stools and failing to convince either as spectacle or as a fable about religious obsession. Read full review
Dominik Moll never addresses Matthew Gregory Lewis's original groundbreaking ideas in the film, nor does he rework the material for a contemporary audience. Read full review
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