78
Metascore
16 reviews · Provided by Metacritic.com
- 83The A.V. ClubMike D'AngeloThe A.V. ClubMike D'AngeloThis tale of a creepy pedophilic relationship is the most tender, nuanced, and deeply felt picture Seidl has ever made. What’s more, there’s no need to have seen the other two films, as Hope works beautifully all by its lonesome.
- 80The GuardianPeter BradshawThe GuardianPeter BradshawThe love story – and it can be called that – between the doctor and Melanie is presented with candour and tenderness. There is a new humanity to Seidl's work; it could be his best film so far.
- 80The Hollywood ReporterDavid RooneyThe Hollywood ReporterDavid RooneyThere’s uncustomary warmth here and a sensitivity to the characters’ vulnerabilities that often is missing from this director’s work.
- 80EmpireEmpireTying up his trilogy in style, Seidl's film unsettles and provokes with wit and composure.
- 80Total FilmTom DawsonTotal FilmTom DawsonAgainst the odds this is a sometimes droll and surprisingly tender affair, and a fitting end to Seidl’s magnum opus.
- 80Los Angeles TimesBetsy SharkeyLos Angeles TimesBetsy SharkeyThe most hopeful — and the best — of this solid and unsettling series.
- 75Miami HeraldRene RodriguezMiami HeraldRene RodriguezParadise: Hope plays better if you’ve seen the previous two movies, so you can savor the reach and scope of Seidl’s trilogy. But the film stands alone as a tender portrait of adolescence at its most vulnerable and how we manage to survive it, even when surrounded by predators and wolves.
- 75The PlaylistJessica KiangThe PlaylistJessica KiangWe can't help but feel that by comparison with the meaty and compelling issues he takes on so fearlessly, so scabrously in the other entries, Paradise: Hope ends up somewhat toothless.
- 70VarietyLeslie FelperinVarietyLeslie FelperinParadise: Hope has humor and warmth, and shows more genuine affection and kindness toward its characters than Seidl usually allows.
- 60Time Out LondonTrevor JohnstonTime Out LondonTrevor JohnstonSeidl gestures towards understanding rather than confrontation – turning in a slighter, softer-grained film than its predecessors, but no worse for it.