The Promise
Open Road Films (II) | Release Date: April 21, 2017 CRITIC SCORE DISTRIBUTION
49
METASCORE
Mixed or average reviews based on 30 Critic Reviews
Positive:
7
Mixed:
19
Negative:
4
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Critic Reviews

Critic scorePublicationBy date
75
RogerEbert.comGlenn KennyApr 21, 2017
The movie hits its cinematic stride, as it happens, when events are at their worst. The Promise is drenched in production value and replete with ravishing shots of sunrises and sunsets, but it’s in the scenes of fleeing, of battle, and of horrendous loss that the film is at its most effective. The depiction of the savagery inflicted on Armenia is bracing. Read full review
75
ObserverRex ReedApr 21, 2017
Terry George remains a director I admire, and as movies go, the integrity and importance of The Promise are irrevocable. Read full review
75
ReelViewsJames BerardinelliApr 20, 2017
When it comes to war love stories, The Promise isn’t going to challenge Casablanca. The movie is stronger when presenting the political situation than the romantic one. Read full review
75
Chicago Sun-TimesRichard RoeperApr 20, 2017
Yes, The Promise veers into corny territory, and yes, it’s derivative of better war romances — but it’s a solid and sobering reminder of the atrocities of war, bolstered by strong performances from Isaac and Bale, two of the best actors of their generation. Read full review
70
Village VoiceAlan ScherstuhlApr 20, 2017
As drama and spectacle, it’s not quite first-rate — I rarely feared for these characters or believed that I knew their souls, and George is too much of a humanist to wring real-life tragedy for cineplex suspense. But as a moral corrective and a call to decency it moved me. Read full review
67
Austin ChronicleMarjorie BaumgartenApr 19, 2017
The Promise may not be the greatest movie of its type since "Hotel Rwanda," but purchasing a ticket to this solid if predictable movie is a sure way to thumb one’s nose at deniers of the Armenian Genocide. Read full review
63
The Globe and Mail (Toronto)Johanna SchnellerApr 20, 2017
No disrespect to Le Bon, who is pleasant enough, but this kind of part should be a career-definer. Where is today’s Ingrid Bergman, Julie Christie or Diane Keaton? Blame those damned superhero pics, which, in appealing only to adolescent boys, have cost us a generation of actresses. Read full review
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