Once Transit's bitterly ironic vision takes hold, it eats into the mind.

An audacious reminder that there's more than one way to adapt a so-called "period" novel for a new era.

Christian Petzold's white-hot existentialist noir Transit is perhaps the best World War II film since Paul Verhoeven's Black Book, even if it hinges on a suspension of disbelief that'll be too far a stretch for some.

Transit achieves the remarkable feat of both persuading us of the reality of the refugees’ world, and at the same time demanding us to keep questioning the filmmakers’ choices.