Avis Metacritic

Into the Inferno is a memento mori aimed at the whole human race, and only Herzog could make one this non-pretentious, funny, curious, and respectful at the same time.

Herzog shoots first, and asks how the footage might be pertinent to his project later; Into the Inferno often feels scattered and listless as a result, but this tactic is also responsible for so many of the movie’s most perfect moments.

Despite Herzog’s efforts to keep it as entertaining as possible, “Inferno” does feel like it overstays its welcome a bit. That being said the access and footage they’ve compiled coalesces into a truly cinematic experience. One that would be hard for anyone else to even fathom attempting to duplicate.

Herzog’s typically dry narration is a particular delight in Into The Inferno.

Into the Inferno is an intriguing, unnerving documentary.

Even as Into the Inferno invites us to marvel at our insignificance in the face of Mother Nature’s seething primordial firepit, Herzog, being Herzog, refuses to lose sight of the human element.

It might be sacrilege to suggest that Herzog could use a more strong-willed collaborator, but this film sometimes turns into a rather misshapen cinematic essay. Nevertheless, you won’t be sorry to witness the apocalyptic images of nature blazing and roaring.

Into the Inferno proves most fascinating when documenting the ways in which primitive peoples invest these angry craters with spirits and gods.

As fun as Herzog’s highly imitable voice can be, this particular film arguably works best when he remains quiet and simply stares at the fiery void.

The busy-ness of its conceit grounds Werner Herzog in a documentary procedural form that's surprisingly conventional by his standards.