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The Cook, the Thief, His Wife & Her Lover
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DIRECTORS OF "The Cook, the Thief, His Wife & Her Lover"
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CREATORS OF "The Cook, the Thief, His Wife & Her Lover"
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HEROES OF "The Cook, the Thief, His Wife & Her Lover"
The Cook, the Thief, His Wife & Her Lover
CRITICS OF "The Cook, the Thief, His Wife & Her Lover"
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Rob Nelson
Resource

September 01, 2009

Still the most lavishly offensive of Greenaway's films.
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Victoria Alexander

October 17, 2003

Startling and bold!
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Frederic and Mary Ann Brussat
Resource

August 30, 2004

The Cook, the Thief. His Wife and Her Lover is a dark and grim morality play about our insatiable appetite for cruelty and power.
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Cole Smithey
Resource

August 13, 2011

[VIDEO ESSAY] ... a masterpiece of British cinema built on several hundred years of literary tradition. The film must be viewed more than once to begin to apprehend its strong and subtle layers of rope-thick satire.
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Dennis Schwartz
Resource

October 15, 2007

Highly stylized and elegant Jacobean revenge tale over adultery and jealousy that rolls against the taste buds like a mouth full of hot pepper.
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James Berardinelli
Resource

January 01, 2000

Taboos? If director Peter Greenaway has any, you can't tell by this film.
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Emanuel Levy
Resource

April 23, 2011

Take it or leave it: Greeanway's contemporary Jacobean drama, about greed, adultery and cannibalism, is brutal, provocative and visually brilliant.
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Variety Staff
Resource

October 18, 2008

Albert is one of the ugliest characters ever brought to the screen. Ignorant, over-bearing and violent, it's a gloriously rich performance by Gambon.
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Desson Thomson
Resource

January 01, 2000

Give or take another masterpiece coming down the pike, this intricately assembled, viscerally provocative tract on consumerism gone full and grisly circle, is without a doubt, the most accomplished, astounding film of the year.
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Hal Hinson
Resource

January 01, 2000

Greenaway, the bemused, coolly ironic truth-teller, has painted a cruel portrait for a cruel time.
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Caryn James

May 20, 2003

A work so intelligent and powerful that it evokes our best emotions and least civil impulses, so esthetically brilliant that it expands the boundaries of film itself.
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Geoff Andrew
Resource

June 24, 2006

For a Jacobean-style drama about deadly emotions, the film lacks passion; only in the final half-hour, with Michael Nyman's funereal music supplying a welcome gravity, does it at last exert a stately power.
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