66
Metascore
37 reviews · Provided by Metacritic.com
- 91Entertainment WeeklyLisa SchwarzbaumEntertainment WeeklyLisa SchwarzbaumWhich brings us back to Kidman, who really IS sensational here.
- 90The Hollywood ReporterMichael RechtshaffenThe Hollywood ReporterMichael RechtshaffenNoah Baumbach has followed up his acclaimed 2005 breakthrough "The Squid and the Whale" with another wryly observed, giddily cringe-inducing, bracingly original winner.
- 88Rolling StonePeter TraversRolling StonePeter TraversDissenters who see this film as a wallow in self-absorption aren't paying attention. Baumbach is acutely attuned to the droll mind games of smart people who only think they're impervious to feeling.
- 83The A.V. ClubScott TobiasThe A.V. ClubScott TobiasMargot has a kitchen-sink realism that's genuinely unsettling, like a John Cassavetes movie populated by the hyper-articulate. If nothing else, Baumbach deserves credit for refusing to cozy up to the audience.
- 75Christian Science MonitorPeter RainerChristian Science MonitorPeter RainerObviously a movie made by smart and talented people but sometimes you can outsmart yourself.
- 70VarietyTodd McCarthyVarietyTodd McCarthyThis study of a disastrous reunion of two sisters feels more like a collection of arresting scenes than a fully conceived and developed drama.
- 70Village VoiceVillage VoiceHard as it may be to imagine a comedy that inflicts all the psychic torment of "Cries and Whispers," Baumbach has pulled off a more psychologically acute--and funnier--version of the Bergman pastiches that Woody Allen attempted 30 years ago, with a jumpy, nerve-rattling rhythm all his own.
- 60New York Magazine (Vulture)David EdelsteinNew York Magazine (Vulture)David EdelsteinMargot at the Wedding doesn’t develop; it just skips from one squirmy scene to the next.
- 50The New YorkerDavid DenbyThe New YorkerDavid DenbyThe characters observe no boundaries, and neither does the movie--Baumbach hasn’t worked out the struggle between speaking and withholding, as Bergman did. People simply blurt out scathing remarks, so there’s little power in the revelations and betrayals. “Margot” is sensually as well as dramatically impoverished.
- 50ReelViewsJames BerardinelliReelViewsJames BerardinelliWhile there are a lot of similarities between Rohmer's body of work and Baumbach's latest, the most crucial aspect linking the films is a difference: Rohmer's love of conversation and languorous pace engages the intellect; Baumbach provides a good alternative to an over-the-counter sleep aid.