The script – chronologically linear yet disjointed, averse to melodrama yet often clichéd in a ‘hello Monet, hello Rilke’ kind of way – is deeply inadequate.

Sculpture is the art of turning lifeless stone into something that looks alive, flesh, living bodies and movement. Jacques Doillon's Rodin, in competition at Cannes, does precisely the opposite, turning living beings - passionate artists, no less - into lumps of lifeless clay.

John Bleasdale

CineVue

For a film meant to champion the powers of three-dimensional art, Rodin winds up being awfully flat.

Jordan Mintzer

The Hollywood Reporter