Name : Martin Tsai / Alias : Los Angeles Times
A cri de coeur on the samurai flicks of a bygone era, "Uzumasa Limelight" unfolds understatedly and movingly like something from Clint Eastwood at the top of his game.

Name : Jeannette Catsoulis / Alias : New York Times
Directing with an old-fashioned tenderness toward his unassuming star, Ken Ochiai conjures a swan song to a waning art form and those who practice it.

Name : Michael Nordine / Alias : L.A. Weekly
None of this goes down with any real verve, though Kamiyama's wrinkled face is a small marvel of expressivity.

Name : V.A. Musetto / Alias : New York Post
It is Dequenne who holds the film together - she and Techine's youthful touch, which belies his 66 years.

Name : David Fear / Alias : Time Out
Techine offers a character study in lieu of context for the similar 2007 hoax that threw the French press into a tizzy, and like many of his best films, this what-if examination works best as an actors' showcase.

Name : Bernard Besserglik / Alias : Hollywood Reporter
The movie is held together.by the fluidity of his style and his characteristic blend of lightness and gravity.

Name : Ronnie Scheib / Alias : Variety
Techine fashions a brilliantly complex, intimate multi-strander, held together but somewhat skewed by the central perf of Emilie Dequenne.

Name : Manohla Dargis / Alias : New York Times
A seductive drama.

Name : Ella Taylor / Alias : Village Voice
For better or worse, there isn't a human experience that French director Andre Techine can resist lathering into a tone poem.

Name : Joe Williams / Alias : St. Louis Post-Dispatch
Although this stylish and ominously paced vehicle starts with a full itinerary, it never makes a vital connection.

Name : Rex Reed / Alias : New York Observer
The film is based on a play, but it is to the director's credit that it never shows the claustrophobic trappings of a proscenium stage.

Name : Martin Tsai / Alias : Los Angeles Times
A paper-thin plot ornamented with distractions: a nonlinear narrative, unreliable narrators, flatulent dialogue and awkward post-production work.

Name : Wesley Morris / Alias : Boston Globe
A movie whose blitheness doesn't know when to quit.

Name : Roger Ebert / Alias : Chicago Sun-Times
The movie seems likely to be about anti-Semitism, but that's more the occasion than the subject.

Name : Michael O'Sullivan / Alias : Washington Post
It's a well-acted, but frustratingly inconclusive exercise.

Name : Andrea Gronvall / Alias : Chicago Reader
Techine glosses over the story's most potent issue: France's complicated relationship with its Jewish community.

Name : Owen Gleiberman / Alias : Entertainment Weekly
Techine has made a half-captivating, half-baffling tease of a movie in which one woman's destructive whim has the effect of making anti-Semitism look like a myth.

Name : Mick LaSalle / Alias : San Francisco Chronicle
This is Techine's gift - not just detail, but telling detail; and not just slices of life, but slices as rich as a cassata cake.

Name : Scott Tobias / Alias : AV Club
Given several years' distance from the media blitz, Techine brings clarity, maturity, and perspective to the case while still subtly addressing all the thorny social issues the affair touched off.

Name : Rene Rodriguez / Alias : Miami Herald
Like Techine's best films, the movie appears to be a story about nothing - until it suddenly becomes a meditation on the vagaries of the human heart.

Name : Steven Rea / Alias : Philadelphia Inquirer
The Girl on the Train reverberates with a quiet, seductive power.

Name : David Jenkins / Alias : Time Out
The film's big strength is its unwillingness to dish out easy answers

Name : Anthony Lane / Alias : New Yorker
At the age of sixty-six, [Techine] approaches the exploits of his characters with a gusto, and a willingness to be led astray, that borders on the adolescent.

Name : James Berardinelli / Alias : ReelViews
Although the main character's motivations remain largely a matter of conjecture, The Girl on the Train is a compelling piece of cinema.

Name : Kenneth Turan / Alias : Los Angeles Times
Don't expect any kind of neo-documentary examination of cause and effect. That's not filmmaker Andre Techine's style, and this is one of his most successful films.