49
Metascore
10 reviews · Provided by Metacritic.com
- 80L.A. WeeklySam WeisbergL.A. WeeklySam WeisbergIn Vladimir de Fontenay’s Mobile Homes, Imogen Poots gives a performance of such multifaceted distinction that it might be hard to believe you’re watching the same actress from frame to frame.
- 75Movie NationRoger MooreMovie NationRoger MooreDirector de Fontenay has a great eye for detail — filling Mobile Homes with inside cock-fighting particulars and manufactured housing factory work, roadhouses and after hours “clubs” where the chicken fighting takes place.
- 60Los Angeles TimesNoel MurrayLos Angeles TimesNoel MurrayWhile the story’s a little shaky, Poots is outstanding; and de Fontenay has a terrific eye for the details of a drifter’s life, shuffling from hovel to hovel, never able to scrape up enough cash to sleep comfortably.
- 60Screen DailyAllan HunterScreen DailyAllan HunterThe feature debut of Vladimir De Fontenay is an accomplished piece with a committed central performance from Imogen Poots, but the emotional impact is lessened by an air of predictability and the sense that every bit of fresh hope is destined to end in disappointment.
- 58The PlaylistBradley WarrenThe PlaylistBradley WarrenIt’s a very watchable — if occasionally frustrating— first effort, but one hopes that the director will carve out more original territory with his second film, regardless of where he settles.
- 50The New York TimesBilge EbiriThe New York TimesBilge EbiriThis is an atmospheric, well-acted film that leaves us mostly cold.
- 50The Globe and Mail (Toronto)Brad WheelerThe Globe and Mail (Toronto)Brad WheelerThe result is a metaphor run amok, with a limp plot, implausible action and three barely sketched characters played drearily.
- 50RogerEbert.comNick AllenRogerEbert.comNick AllenThere’s a big meaning to all of this, and yet the movie can’t eloquently express it, even though the metaphor is in the title.
- 40The Hollywood ReporterStephen DaltonThe Hollywood ReporterStephen DaltonThis unflinching yet compassionate depiction of marginalized misfits boasts a few pleasingly poetic flourishes, but it suffers from some common first-time director flaws, notably a listless narrative, thinly developed characters and a relentlessly somber mood.
- 40VarietyPeter DebrugeVarietyPeter DebrugeThis is a dour and deeply unpleasant film that wears its gritty realism as a badge of honor, while failing to recognize the motivations that explain such behavior in reality, which makes him neither an attentive journalist nor a particularly good storyteller (at least not yet).