67
Metascore
17 reviews · Provided by Metacritic.com
- 83The Film StageDan MeccaThe Film StageDan MeccaChoe shows a deft hand in her brevity and economy of action. So little happens yet it matters so much.
- 83IndieWireKate ErblandIndieWireKate ErblandIt’s Riseborough who holds the film fast, rooting its seemingly wild twists and character developments into something haunting and, quite often, eerily understandable.
- 83The A.V. ClubKatie RifeThe A.V. ClubKatie RifeIn the end, Nancy is a bit too dogmatic in its refusal to provide easy answers, its emotional impact dissipating like dust in a sunbeam with every understated non-revelation.
- 80Village VoiceBilge EbiriVillage VoiceBilge EbiriI’d urge any viewer to look closely at the lead actress. The emotional journey of the story— and it’s a fairly dramatic one — comes alive and gathers force through her expressions. She is the movie.
- 70Screen DailyFionnuala HalliganScreen DailyFionnuala HalliganChoe has taken a slim scenario and used to touch on universal themes and thoughts of escape and second chances in life.
- 70Los Angeles TimesJustin ChangLos Angeles TimesJustin ChangRather than defaulting to either condemnation or absolution, Nancy instead holds out the fleeting possibility of love to someone who has never known it before — and asks why we should begrudge her the impulse to seize it.
- 60The Hollywood ReporterJon FroschThe Hollywood ReporterJon FroschThe filmmaker never pulls us into the twists and turns of her main character's mind, and she tiptoes around, rather than tackles, her ideas about class envy, the performative nature of identity and the tension between truth and happiness.
- 60The New York TimesJeannette CatsoulisThe New York TimesJeannette CatsoulisWhat’s left is a strange, sour tale that’s neither origin mystery nor journey of self-discovery, but a vexing gesture toward damage and delusion that never permits us to peek under its broken heroine’s hood.
- 40VarietyAmy NicholsonVarietyAmy NicholsonInstead of exploring her actions, and the people they affect, Nancy‘s restraint keeps the film closed-off and grim, as muddy gray as the life she’s aching to ditch.
- 25Slant MagazineChuck BowenSlant MagazineChuck BowenThere's vanity in its boutique art-film brand of hopelessness, which derives from a fetishizing of "keeping it real."