You Ain't Seen Nothin' Yet
Kino Lorber | Release Date: June 7, 2013 CRITIC SCORE DISTRIBUTION
69
METASCORE
Generally favorable reviews based on 16 Critic Reviews
Positive:
12
Mixed:
4
Negative:
0

Critic Reviews

Critic scorePublicationBy date
91
The PlaylistPeter LabuzaJun 6, 2013
A testament to [Resnais'] positive outlook on not only the possibility of cinema, but the possibilities of life. Read full review
91
The A.V. ClubIgnatiy VishnevetskyJun 5, 2013
Resnais’ new film, You Ain’t Seen Nothin’ Yet, is ostensibly an adaptation of two unrelated plays by Jean Anouilh: "Eurydice" (1941) and "Dear Antoine": Or, "The Love That Failed" (1971). However, Resnais’ methods of adaptation — placing one play within the other, and then refracting its dialogue across multiple characters and layers of reality — quickly eclipse the source material. Read full review
90
The New York TimesA.O. ScottJun 6, 2013
You Ain’t Seen Nothin’ Yet is a sly, elegant meditation on the relationship between reality and artifice. But it is a thought-experiment driven above all by emotion. Read full review
88
New York PostFarran Smith NehmeJun 6, 2013
There is something both mischievous and moving about a world-famous director who, closing on his 10th decade, designs a movie that celebrates his actors: their varying ages, their versatility, their heart. Read full review
80
Los Angeles TimesGary GoldsteinJul 4, 2013
A crafty, brainy and uniquely stirring concoction. Read full review
80
Time OutEric HynesJun 4, 2013
What elevates the film is a pervasive, palpable sense of loss — between lover and beloved, young and old, stage and screen. Read full review
80
Time Out LondonGeoff AndrewJun 2, 2013
The film is touching, but more than that it’s wise, witty and thought-provoking. Read full review
75
IndieWireEric KohnJun 2, 2013
The cumulative effect is occasionally dizzying but transparent, a frantic attempt to cram themes into cinematic conceit. Read full review
70
NPRMark JenkinsJun 7, 2013
The result is complex yet lighthearted, as diverting as it is meditative. Resnais uses contrapuntal editing — one of his trademarks — as well as artificial settings, special effects, split screens, cinematic references and anachronistic devices to keep viewers tipsily off-balance. Read full review
70
Village VoiceCalum MarshJun 4, 2013
Perhaps the richest of Resnais's recent efforts. Read full review
67
Portland OregonianStan HallJun 2, 2013
For those with adventurous tastes and a little extra patience, the 90-year-old's possible swan song (though he evidently is far from fatigued) is rewarding. Read full review
63
Slant MagazineAndrew SchenkerJun 2, 2013
The film works best when it focuses viewer attention most acutely on the story, deflecting it away from the director's manipulations. Read full review
60
The Hollywood ReporterTodd McCarthyJun 2, 2013
This reflection on the past, love and death through the prism of layers of theatrical endeavor is both serious and frisky, engaging on a refined level but frustratingly limited in its complexity and depth. Read full review
50
VarietyPeter DebrugeJun 2, 2013
Though Resnais’ gamble seems to have failed, it’s encouraging to see a director on the brink of 90 still willing to experiment in a way most helmers half his age wouldn’t dare. Read full review
40
The TelegraphRobbie CollinJun 2, 2013
While his ambitious conceit hangs together over two hours of loudly-declaimed meta-metatheatricality, my word, does it feel like an unholy slog. Read full review
40
The GuardianPeter BradshawJun 2, 2013
Despite its moments of charm and caprice, the film is prolix, inert, indulgent and often just plain dull. Read full review
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