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Hangulat tekintetében Eastwood Titokzatos folyó filmje szellemében, Affleck Tolvajok városa című filmjével vegyítve. De lassabban, bővebben, jobban odafigyelve a karakterekre, és rétegzettebb gondolatokkal. Erős film az emberekről, a tettekről és a következményekről, a felelősségről, a bűntudatról és a megbocsátásról. A néző minden egyes tíz perc elteltével egyre jobban belemerül a történetbe. A zeneileg rendhagyó, már-már hipnotikus - a film utolsó negyedét aláfestő halk kórusének a fokozódó párkapcsolati összecsapás kapcsán olyan sorsdöntő mélységet ad a filmnek, amit Terrence Malick legutóbbi filmjei kórusénekkel csak színleltek. Nagyon vártam Gosling-ot, de Cooper beárnyékolta őt. Itt az eddigi legjobb, nagyon bensőséges alakítását nyújtja. Csodálkozom, hogy Sidney Kimmel producer nem lobbizott többet az Akadémiánál, mert ez egy Leone-féle független amerikai film. (2014.04.07)

One of those rare American epics with big Hollywood stars that we don't see much anymore — maybe one or two a year, if we're lucky. It feels like writers these days aren't tackling stories that span decades and generations as often, probably because crafting a family saga full of tragic twists isn't for the faint of heart. But I really enjoyed this one. The only downside is that it essentially splits into two different stories. Ryan Gosling shines in the first half, and just when you’re hooked on his character, the focus shifts to Dane DeHaan, who takes over the screen. It might feel a bit uneven and could frustrate some viewers, but when you step back and look at the film as a whole, it's a really intriguing piece of work. (2021.06.30)

An Iñárritu-esque movie in the form of a Kinder Surprise; it also offers three (un)similar things in one package. Tremendously powerful in many aspects; from the details like "wearing shabby t-shirts inside out" to building a dense atmosphere. What spoils the enthusiasm somewhat is the third act, which is not bad in itself, but still crouches deep in the shadow of the opening two acts. It is schematic, predictable, and somewhat didactic. Which, since it is meant to close the circle, is a little unfortunate. Quite a little bit. (2013.03.17)

With such a duo in the lead roles, it couldn't have turned out any other way. Bradley Cooper steals every scene with his brilliant performance without hesitation, and Ryan Gosling only needs one look for the motorcycles in the film to be different than before. These pine trees at first seem like a proper probe into souls on opposite sides of the barricade, like an excellent dramatic arc that I will be talking about for some time. But behind that stone in the stomach that dragged me down for over two hours, there is simply something more. And when the viewer lets a few pivotal moments pass before their eyes and connects them back into a single whole, it will shake you up at least one more time. (2013.03.19)

I have with this movie the same problem I had with Cianfrance’s previous one, Blue Valentine. Once again, the director-screenwriter attempts to present a broad indie social drama, but he’s unable to convincingly deliver and defend any of the conflicts that make the basis of the plot. As a result, the whole thing feels like disingenuous and manipulative stuff that wants to look important, and that’s all there is to it. In the first act it still works somehow, thanks mainly to Gosling’s charisma. Things start to grind in the second act, and the last act is, well, almost ridiculous. I’m very disappointed, I was really looking forward to it, but it seems that with Derek we don’t see eye-to-eye. 5/10 (2013.05.10)