In his own review of Kiarostami's film, critic Jonathan Rosenbaum of the "Chicago Reader" awarded it a full four stars. Responding to Ebert's criticisms, Rosenbaum wrote: "A colleague who finds "Taste of Cherry" "excruciatingly boring" objects in particular to the fact that we don’t know anything about Badii, to what he sees as the distracting suggestion that Badii might be a homosexual looking for sex, and to what he sees as the tired "distancing strategy" of reminding us at the end that we’re seeing a movie. From the perspective of the history of commercial Western cinema, he has a point on all three counts. But Kiarostami couldn’t care less about conforming to that perspective, and given what he can do, I can’t think of any reason he should care... the most important thing about the joyful finale is that it’s the precise opposite of a "distancing effect." It does invite us into the laboratory from which the film sprang and places us on an equal footing with the filmmaker, yet it does this in a spirit of collective euphoria, suddenly liberating us from the oppressive solitude and darkness of Badii alone in his grave... Kiarostami is representing life in all its rich complexity, reconfiguring elements from the preceding 80-odd minutes in video to clarify what’s real and what’s concocted... Far from affirming that "Taste of Cherry" is "only" a movie, this wonderful ending is saying, among other things, that it’s also a movie."