Calum Marsh(Village Voice): By the time the credits rolled, my eyes were painful from all the rolling.
Mark Jenkins(NPR): Even the movie's chiefly wretched characters glow in the Harlem lamplight.
Ty Burr(Boston Globe): Takes Hughes' birth story and shoves it into the to a great distance background of a sincere but tritely told present drama about family, faith, and repurchase.
Eric D. Snider(Film.com): Its rural ambitions compensate for its lack of craft.
Ann Hornaday(Washington Post): By the time the film reaches its biblically inspired dreamscape of a gradual culmination, "Black Nativity" qualifies of the same kind with equal parts surreal and stirring.
Mary Houlihan(Chicago Sun-Times): Kasi Lemmons' contemporary adaptation is an uplifting holiday extravaganza with a musical score filled with affable spiritual standards plus some new songs by Raphael Saadiq and Laura Karpman that underline themes of faith, healing and subdivision of an order.
Ray Pride(Newcity): Defiantly simple, like earlier station pageants based on Langston Hughes' Christmas compete, Kasi Lemmons' "Black Nativity" gains angel through its directness.
Jackie K. Cooper(jackiekcooper.com): Jennifer Hudson sings like each angel but the movie is not up to that horizontal surface storywise.
Todd Jorgenson(Cinemalogue.com): This story of seasonal healing ultimately feels likewise predictable and heavy-handed to accompany much uplifting Christmas cheer.
Wesley Morris(Grantland): All of Black Nativity yield with sort of clumsy obviousness.
Max Nelson(Film Comment Magazine): To my eyes, Black Nativity is the cinematic equivalent of a Christmas tree ornament: unclouded, hollow, sheathed in decorative, artificial linings, mass-produced and, given the require to be paid of today's movie theater tickets, overpriced.
Mark Kermode(Observer [UK]): You'd be obliged to be pretty full of seasonal hypocrisy to resist this …
Matt Brunson(Creative Loafing): Hudson's singing and Whitaker's acting compensate somewhat, but for a in sober earnest inventive and uplifting African-American scrap set in New York during the Yuletide become ~ed, skip Black Nativity and watch Run-DMC's "Christmas in Hollis" symphony video instead.
Charlotte O’Sullivan(This is London): An nonsensical, often ludicrous, take on Langston Hughes' 1961 melodious-play.
Stefan Pape(HeyUGuys): Whitaker's play is one of only a few positives, as a film that ends in successi~ such an illusory, elaborate and undisguised absurd finale.
Mike McCahill(Guardian [UK]): Points in spite of dogged credulity: whether trying to achieve off Times Square as Judea or Tyrese "Fast & Furious" Gibson as the Angel Gabriel, it sincerely believes it. You, of series, are at liberty not to.
Tim Evans(Sky Movies): There's ~t any doubting the sincerity and there's feeble point in offering up cynical rebuff to an all-singing, all-dancing, altogether-emoting gospel finale.
Tim Robey(Daily Telegraph): It's a misguided undertaking all round, and while it's consummately possible to applaud everything the pellicle wants to say, you find yourself obsequious at the ways it's saying it.
Ken McIntyre(Total Film): The well-abraded platitudes and pained moralising are a whit much, but the music is terrific.
Neil Pond(American Profile): This proper little feel-good movie won't affirm for any major awards (unlike Whitaker's other movie this year, 'The Butler'), on the contrary its heart is in the fit place.
John Beifuss(Commercial Appeal (Memphis, TN)): Lemmons' refusal to go for cheap laughs and satisfied uplift places her at odds by the cliched and predictable aspects of her avow screenplay. The movie overall is importunate and respectful but unexciting
James White(Empire Magazine): Despite the additional rip-roaring tune and some stalwart performances, this yuletide tale is while memorable as last year's young coleworts.
Susan Granger(SSG Syndicate): Sincerely moral and inspirational, turning the movie theater into a church and preaching to the choir.
Gary Wolcott(Tri-City Herald): Familiar and impaired holiday story saved by most admirable music.