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The critical consensus

Moodysson is well-versed in bleakness, but Mammoth lacks the emotion shown in his acclaimed Lilya 4-Ever, while the writer/director's flair for social exploration here seems incomplete.

***(*)(*)Becky Bartlett, The Skinny, 27/10/2010

A return to form by Moodysson although the bigger Iñárritu-like stuff - globalisation, poverty, fraying family relationships - are all a bit too neat to really engage.

***(*)(*)Ian Freer, Empire Online, 01/11/2010

The preaching soon grows wearisome.

**(*)(*)(*)Philip Kemp, Total Film, 28/10/2010

Mammoth reeks of sentimentality, evasion and condescension.

*(*)(*)(*)(*)Peter Bradshaw, The Guardian, 04/11/2010

Please use the link to reference this article. Do not copy & paste articles which is a breach of's Ts&Cs ( and is copyright infringement. Send a link for free or email to purchase rights. Someone needs to tell Moodysson to make another movie like his first, with a small budget, no stars, and none but the slenderest, most superfine idea.

*(*)(*)(*)(*)Nigel Andrews, Financial Times, 03/11/2010

I can't imagine anyone, other than Bono, liking this film.

*(*)(*)(*)(*)Anthony Quinn, The Independent, 05/11/2010

The cameraman, Marcel Zyskind (Code 46), knows how to play up visual alienation better than anyone, but it’s a waste of his talents when all the film achieves is a kind of bewildered solipsism.

**(*)(*)(*)Tim Robey, The Telegraph, 05/11/2010

The crude liberal hand-wringing is of a familiar kind.

Philip French, The Observer, 07/11/2010

As a high end soap opera, it’s highly watchable. But it doesn’t have anything original to say on its subject and nowhere startling to go.

**(*)(*)(*)Alison Rowat, The Herald, 06/01/2011

Swedish writer/director Lukas Moodysson claws his way back into the mainstream with this condescending, glossy slice of We Are The World-style film-making.

**(*)(*)(*)Alistair Harkness, The Scotsman, 08/01/2011

Where and when?

General release. Check local listings for show times.

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