Ben Trout’s review published on Letterboxd:
Dreyer's stab at the conceit of D.W. Griffith's Intolerance works primarily for its intentions, as the four connected storylines are all markedly mundane in their orchestration. The first one - which posits the tale of Judas working under the hand of Satan - is actually a whole lot more interesting for its classically Danish Jesus (complete with the strict, dark beard) who is, above all things, pretty snide. Moving into the Spanish Inquisition (where a love triangle just gets sillier and sillier as it fumbles along), on to the French Revolution and modern times (both stories are shamelessly similar to the Spanish Inquisition bit), Dreyer is still nearly a decade from his masterpiece (The Passion of Joan of Arc) - and it shows. He does - in three don't-blink moments - move the camera.