Chevalier further indulges in the dank impulses and fragility of the male ego.

| Nov 21, 2023

Chevalier runs slightly out of steam, a victim of high concept over narrative ingenuity, but it is a relentless satire on male vanity and the grim hollowness of machismo.

| Jul 18, 2022

Chevalier is incredibly funny and light on its feet. Though a deeper sociological experiment in embedded within the game structure, it is simply entertaining to watch these characters take the competition so seriously.

| Jan 6, 2021

It is very well-acted, and often chuckle-worthy, and it does pose an amusingly distant view at how we all constantly compete with one another anyway, whether we're using a rulebook or not.

| Jan 9, 2020

Tsangari leaves plenty of room for interpretation in terms of figuring out what exactly this absurdist case of male competition can represent, but some moments point toward a fun case of role reversal between genders.

| May 30, 2019

[Tsangari] has made Chevalier into a raffish and intelligent divertissement with one of the year's most applaudably in-sync ensembles.

| May 1, 2019

Tsangari seems less interested in satire than in digressive dawdling, and while she probably achieved exactly the sterile tone that she wanted, a lot of Chevalier plays like Kubrick on horse tranquilizers, empty and benumbed.

| Original Score: 2/5 | Apr 5, 2019

Athina Rachel Tsangari's Chevalier is a timely arrival as it zeroes in on the minutiae that constructs the modern male identity.

| Original Score: 2/5 | Mar 29, 2019

Chevalier may, as well as a sideswipe at male ego and rivalry, be a wider sideways comment on the prevailing political situation in Greece, where everyone, even the two hired staff, gets drawn into the game.

| Original Score: 4/5 | Feb 20, 2019

Like a black comedy feminist Deliverance, Athina Rachel Tsangari finds lying within the cracks of masculine performativity an inherent struggle with the omnipresent 'threat' of the feminine.

| Aug 25, 2018

This is a more accessible, funnier, piece from [director Athina Rachel] Tsangari showing her move towards slightly more mainstream fare.

| Original Score: 3/5 | Aug 23, 2018

Athina Rachel Tsangari, who reenergized contemporary Greek cinema with Lanthimos, succeeds in Chevalier by concentrating on a group of six men.

| May 1, 2018

Chevalier is rich with bickering and petty squabbles, but the film is sustained thanks to the men's ability to preserve (for the most part) a modicum of respect toward one another, and toward the rules of their absurd game.

| Mar 30, 2018

... there's another benefit to a greater percentage of female directors: a more critical take on masculinity.

| Feb 14, 2018

Anybody who doubts that the film's trivial pursuits belie a cutting, Buuelian subtext should watch the final exterior shots carefully.

| Sep 28, 2017

Chevalier is a hilarious but unapologetic glimpse into bad behavior among men who fancy themselves among society's elite.

| Aug 8, 2017

"Chavlier" is a time bomb of a film, that doesn't really hit you until the countdown timer runs out as the credits roll.

| Original Score: 4.5/5 | Apr 5, 2017

It has a good deal to say about men from the perspective of a woman and it's never less than intriguing as these rather foolish characters challenge one another.

| Original Score: 3.5/5 | Jan 27, 2017

One is stuck with these unlikeable characters for 105 minutes, while they do very little to shock, to make the viewer laugh or to truly engage.

| Jan 3, 2017

Tsangari and her co-writer, Efthymis Filippou, take a quietly amusing view of the men's one-upmanship, and the deft camerawork creates a vibrant style amid the film's confined [setting].

| Original Score: 3/5 | Dec 17, 2016