First Cow (2020)

O’Sullivan calls the film stunning and urges readers to see it first. She singles out William Tyler’s soundtrack for its heart-rending effect.

Walsh regards the film as one of Reichardt’s finest, praising its gentle authority. He singles out the warmth and everyday intimacy of Cookie and King Lu’s friendship.

Kohn praises the film as a hypnotic, warm story that brings Reichardt’s recurring themes into focus. He singles out the tender bond between the two friends and the film’s communion with the Pacific Northwest landscape.

The critic finds the film a sublime, quietly affecting portrait of friendship and class. She singles out its transfixing visual detail and tactile world-building for praise.

Chang praises the film as an atmospheric, suspenseful story that treats its characters with clear-eyed affection rather than easy triumphalism. He singles out Reichardt’s patient attention to process and detail, along with the lived-in world it creates.

The critic finds the film a playful, poignant and quietly winning western. They praise its exquisite period details and its affectionate portrayal of a diverse pioneer community.

Bradshaw finds the film tremendously engaging and praises its forceful, distinctive storytelling. He singles out its beautifully simple cinematography and palpable sense of financial jeopardy.

Rooney finds the film hypnotic, beautiful, and absorbing despite its sparse narrative. He especially praises the believable rapport between Magaro and Lee, which gives the quiet story its emotional force.

Dowd finds the film a touching portrait of friendship and a quietly incisive American creation myth. He especially praises the gentle rapport between John Magaro and Orion Lee, while noting the film’s deliberately meditative pace may be an acquired taste.

Freer finds the film beautifully rendered and its friendship deeply affecting, though it does not break much new ground. He singles out the understated performances of John Magaro and Orion Lee, especially Magaro’s gentle, carefully modulated portrayal.

The review is positive about the film’s humane focus on the need for connection. It singles out the gentle bond between Cookie and King-Lu as the story’s heart.

The review calls the film quietly powerful and praises its earthy poetry. It singles out Reichardt’s evocative rendering of early American life.

Edelstein finds the film haunting and moving, ultimately redefining home through friendship. He praises the chemistry and tenderness of the two leads, while faulting the writing once their scheme is underway.

Debruge finds the film lean but engaging, with a melancholy, open-ended story. He especially praises the tender bond between Cookie and King-Lu, which the film’s intimate framing brings into focus.

The accessible page identifies this as a review but does not reveal the critic’s verdict. Its standfirst describes the film as an Old West tale of love and money, without giving a specific element praised or criticized.

The page appears to be a review, but its verdict cannot be determined from the blocked text. No specific praise or complaint is available in the accessible material.

The piece considers Reichardt’s film alongside Olanda, framing them as sharing concerns with nature and capitalism. The available text gives no specific verdict or further praise or complaint.

The page appears to be RogerEbert.com’s review of the matching film, but its verdict cannot be established from the blocked page. No specific praise or complaint is visible.

The review finds the film’s social critique compelling but says its leads feel more like symbols than fully realized people. It praises the vividly realized outpost and the supporting cast, especially the film’s quietly observed details.

Brody finds the film divided against itself, with its suspense and political insight undermined by a predetermined, impersonal approach. He praises Reichardt’s attentive portrayal of Chinook culture, but faults the film for narrowing its characters and experiences into a didactic argument.

Dunn praises Reichardt’s film as her sweetest and funniest to date, while finding hope in its downbeat view of the American Dream. He singles out the warm humour and tender friendship between Cookie and King-Lu.

Keogan finds the film’s humane vision a compelling contrast to the selfishness and inequality of capitalism. She praises the earnest humor and the nourishing friendship at its center.

The critic calls the film Kelly Reichardt’s finest feature to date and finds it funny, compelling, and moving. They single out John Magaro and Orion Lee’s excellent portrayal of the friendship at its core.

The critic calls the film sublime, praising its tender portrayal of Cookie and King-Lu’s friendship. She singles out the actors’ rapport and the quiet domestic gestures that make their connection feel moving.

The critic considers the film a quiet masterwork, rich in humane melancholy. They single out the expressive cinematography, which makes the surrounding landscape feel like a central character.

Nayman finds the film moving, sincere, and beautifully made, while acknowledging that its ambling pace may not suit every viewer. He especially praises the tenderness and mutual respect in Cookie and King Lu’s friendship, alongside the film’s subtle handling of class and history.

The critic praises the film as a tender, quietly affecting revisionist Western. They single out Reichardt’s meditative style and the warmth of Cookie and King-Lu’s friendship.

Shaffer finds the film a fascinating, touching deconstruction of American capitalism and the Western. He praises Reichardt’s intimate portrayal of friendship and the tension between self-sacrifice and self-interest.

Wilkinson finds the film quietly affirmative, with friendship offering warmth amid an emerging commercial world. She praises Reichardt’s organic atmosphere and the gentle way she sets the characters’ dreams against capitalism.

Crow finds the film emotionally poignant and ultimately haunting, though its slow pacing and long runtime make it less involving. He praises the intelligent ending and the affectionate portrait of fellowship between the two leads.