“La construction du film est par trop schématique. […] celles du passé bénéficient d’un rendu réaliste optimal. Laurent Herbiet […] décrit avec une netteté implacable le processus.” Jérôme Provençal: “Mon colonel”: la guerre d’Algérie, fabrique de tortionnaires. In: Le Monde, 14. November 2006.
“The Colonel is too rigidly conceived to be anything more than a polite reminder of man’s inhumanity to man. […] exceptionally strong perfs from co-leads […]. The Colonel sets out its pieces with a deadening fact-based sensibility and a cool style that cancels out what could have been an electrifying string of situations. […] Yet this central contradiction in Rossi is never rewardingly explored. […] The film’s most powerful component is the dialogue between Rossi and Duplan, a character worthy of Joseph Conrad. […] Use of the present-day investigation – accented by several annoying cutaways to Galois reading and reacting to Rossi’s letters – […] gradually robs the pic of its force, reducing it to a rather mundane murder mystery […]. Duplan’s toughest measures are mildly staged by Herbiet […] a far cry from the gut-wrenching torture scenes […]. Armand Amar’s score is a worthy model of understatement.” Robert Koehler: The Colonel. In: Variety, 11. September 2006.
“Mon colonel a pourtant un air de déjà-vu. La faute à un scénario bâti sur la culpabilité et qui esquisse trop légèrement le sac de noeuds politique.” Christophe Carrière: Mon colonel. (Memento vom 8. Februar 2021 im Internet Archive) In: L’Express, 16. November 2006.
