Babyteeth (2020)

Ide calls the film joyous and life-affirming, praising its fearless, lively filmmaking. She especially singles out the eclectic soundtrack and its unexpectedly apt use of a children’s choir.

Lodge finds the film an arresting, intensely moving coming-of-age drama that builds to a powerful final act. He especially praises the quartet of performances, singling out Eliza Scanlen and Toby Wallace’s finely attuned work.

The critic finds the film a compelling, unsentimental portrait of first love amid suffering. They especially praise its nuanced performances and its deft balance of humour and tragedy.

Walsh finds the film tonally rich and moving, praising its refusal of sentimental clichés. He especially singles out the dinner scene for its balance of squeamish humour and emotional tension.

Ehrlich praises the film as an honest, moving drama that balances hope and despair without becoming mawkish. He singles out Eliza Scanlen’s feral, resilient performance and the cast’s ability to make the characters’ vulnerability feel raw.

Newland finds the film deeply moving and refreshing, though it sometimes veers into twee or overemphasised moments. She especially praises the powerful performances and the nuanced family relationships.

The review presents the drama as quietly electrifying, balancing discovery with mortality. It singles out the heroine as both vividly real and ethereal.

Chang finds the film emotionally forceful and ultimately moving, despite some early tonal uncertainty. He especially praises how Eliza Scanlen makes Milla feel like a complex person rather than a diagnosis.

Rife finds the film a fresh, darkly comic take on the teen cancer romance, though its sentimental ending leaves a maudlin aftertaste. She praises Murphy’s striking use of color and her ability to blend naturalistic performances with heightened style.

Barsanti finds the film an affecting, wry blend of tragedy and comedy, though its secondary-character scenes feel beside the point. He praises its focus on Milla’s determination to live fully and the screenplay’s sardonic sensibility.

Romney presents the film as fresh and bright. He singles out its lively transformation of a story about a stricken teenager and her wild paramour.

Jenkins finds Babyteeth a notable, confident debut, though its final reel is confusing and abrupt. He singles out Eliza Scanlen’s performance and the film’s refusal to sensationalise illness or addiction.

Willmore calls the film an impressive, unsentimental debut, though she finds its pastel-pink darkness somewhat easy and familiar. She particularly praises Eliza Scanlen’s hungry, non-sentimental performance as Milla.

The page is identified as a New York Times review of Babyteeth, but its text is inaccessible. Without the review, its verdict and specific praise or complaint cannot be reliably summarized.

The page could not be accessed, so its verdict is unavailable. No specific praise or complaint can be verified from the available text.

The available page does not expose the critic’s verdict. It identifies the premise as a cancer-stricken teen’s relationship with an older drug dealer.

The review finds the Australian melodrama compelling for its performances but potentially too meandering. It singles out the cast’s performances as its chief strength.

Rooney finds the film’s early, overworked quirks and strained comedy frustrating, but says it reaches a satisfying and genuinely affecting conclusion. He especially praises the quiet Christmas-table coda, where the characters’ connection is allowed to emerge naturally.

The review calls the film a lively, bittersweet comedy-drama and one of the sparkiest debuts in recent memory. It praises the vivid visual style and the vitality of the performances, especially Eliza Scanlen’s.

Crump calls the film a painful, beautiful, and especially true gem. He praises Eliza Scanlen’s vivid performance and the range Shannon Murphy draws from her.

The critic finds the film a profoundly moving, energetic tragicomedy whose shortcomings are outweighed by its compassion. She especially praises Eliza Scanlen’s performance and Shannon Murphy’s avoidance of mawkishness.

Han calls Babyteeth a fresh, powerful take on young love and illness. She especially praises Eliza Scanlen’s vivid performance and the film’s intimate, understated storytelling.

Newland calls the film an imperfect but devastating story, praising its emotional intelligence and restraint. She criticizes the repetitive dancing scenes and occasional excess of heartfelt moments.

Wilkinson finds the drama refreshingly matter-of-fact and optimistic despite its serious subject matter. She praises the cinematography for using natural light, shade, and neon to reflect Milla’s perspective.

The critic finds the film unpredictable and mostly gratifying despite occasional repetition and a contrived late turn. They praise the cast’s ability to convey the characters’ mixture of love and anguish.

The review finds the film uneven, but ultimately deeply moving. It praises the natural, tearful beachfront conclusion while faulting the overworked visual style for blunting the story’s tougher questions.