65
Metascore
8 reviews · Provided by Metacritic.com
- 75Slant MagazinePat BrownSlant MagazinePat BrownAndrei Konchalovsky’s film is fascinated with the creation of great art in the midst of socio-political turmoil.
- 75Movie NationRoger MooreMovie NationRoger MooreIt’s a gritty, lived-in film that feels like a smelly, life-is-nasty-brutish-and-short for anyone not in the ruling classes depiction of the Renaissance — beautiful and painterly even in it’s ugliness.
- 70Screen DailyDemetrios MatheouScreen DailyDemetrios MatheouDramatically the film can feel a little one-note and overlong. But it stands comparison with Derek Jarman’s Caravaggio as a fascinating portrait of an artist fighting to survive in the cut and thrust of times quite unlike our own.
- 70Los Angeles TimesRobert AbeleLos Angeles TimesRobert AbeleNeither agonizing nor ecstatic, but solidly cinematic, Andrei Konchalovsky’s Michelangelo biopic Sin sees the veteran Russian filmmaker tackling the mystery of genius with what might be described as sumptuous grit.
- 70The New York TimesBen KenigsbergThe New York TimesBen KenigsbergAn austere, demanding sit, Sin — a Russian-Italian coproduction with Italian dialogue — nevertheless has a stubborn integrity in exploring the competing forces of patronage and creative inspiration that Michelangelo confronted in the 16th century.
- 70The Hollywood ReporterJohn DeForeThe Hollywood ReporterJohn DeForeA captivating lead performance and a truly massive central metaphor make it a memorable arthouse film.
- 50Austin ChronicleSteve DavisAustin ChronicleSteve DavisRenaissance man extraordinaire Michelangelo Buonarroti is frequently accused of greed in the incohesive historical drama Sin, but the only real transgression is his pride, whether it’s nurturing his own divine genius or badmouthing the mediocrity of contemporaries like Leonardo and Raphael.