63
Metascore
30 reviews · Provided by Metacritic.com
- 89Austin ChronicleAustin ChronicleIn the end this movie belongs to Del Toro. He imbues Jerry with such life, such ambiguity, such unsentimental complexity and depth that you can’t help but feel you’re watching the most intricately mapped depiction of addiction and strained humanity the film world has ever given us.
- 88ReelViewsJames BerardinelliReelViewsJames BerardinelliEmotionally challenging and honest.
- 75Chicago TribuneMichael PhillipsChicago TribuneMichael PhillipsThings We Lost in the Fire finds Bier at an interesting juncture, half-Dogmatic, half traditionalist.
- 75Rolling StonePeter TraversRolling StonePeter TraversDel Toro is the movie's force field. This is a performance you will not forget.
- 75Seattle Post-IntelligencerWilliam ArnoldSeattle Post-IntelligencerWilliam ArnoldThe only downside is that Bier's vision of upper-middle-class America does not always seem authentic.
- 67The A.V. ClubNathan RabinThe A.V. ClubNathan RabinWell-acted yet strangely inert, Fire explores the messy human emotions of grief, but it'd be a lot more resonant if the guy everyone's mourning weren't so fatally perfect, so unforgivably superhuman.
- 60VarietyTodd McCarthyVarietyTodd McCarthyA live-wire performance by Benicio Del Toro sparks an otherwise morose study of loss, addiction and catharsis.
- 58Entertainment WeeklyLisa SchwarzbaumEntertainment WeeklyLisa SchwarzbaumNo matter what panache Bier adds, Things We Lost is still a TV-scaled tear-duct drama about a beautiful woman who pushes past sadness in her House & Garden home.
- 50The Hollywood ReporterKirk HoneycuttThe Hollywood ReporterKirk HoneycuttAn unstable mix of a tearjerker, junkie-recovery story and odd-couple pairing. The film marks the American debut of Danish filmmaker Susanne Bier, whose European films show a strong affinity for stories of human frailties and of families unraveling.
- 50L.A. WeeklyL.A. WeeklyBenicio del Toro’s a squinty-eyed genius, and the only reason this film is halfway worth seeing.