If I Had Legs I'd Kick You (2025)

The review praises the film as an intense, blackly funny rollercoaster of motherhood. It singles out Rose Byrne’s performance as a tour de force of matriarchal fury.

Ehrlich calls the film a harrowing, frequently hilarious portrait of maternal distress, praising its uncompromising surreal intensity. He particularly singles out Rose Byrne’s caustic, fully committed performance and the film’s claustrophobic expressionism.

Zigler calls the film a stunning, brutal portrait of a mother’s exhaustion and resistance to help. She singles out Rose Byrne’s performance for conveying both pain and selfish ambivalence.

Shaffer finds the film a precisely controlled, anxiety-inducing tonal rollercoaster, with only its ambiguous, Lynchian ceiling sequences falling short. He especially praises Rose Byrne’s elastic, go-for-broke performance, which anchors the film’s relentless depiction of burnout.

Balanescu finds the pressure-cooker film perversely enjoyable and thought-provoking, despite its lack of subtlety. She singles out Rose Byrne’s fearless, grimly funny performance for anchoring the spiralling story.

The critic finds the film piercingly funny and acutely observant, with Rose Byrne deftly conveying Linda’s mounting emotional strain. They especially praise Bronstein’s decision to keep the daughter offscreen, which draws attention to Linda’s state of mind.

Steele argues that the film is an important, unsparing portrayal of motherhood under pressure, even though its protagonist is painfully unlikeable. She praises its refusal of a comic or redemptive softening, reinforced by claustrophobic body-horror-style close-ups.

Debruge finds the film exhilarating but sometimes maddening, calling it an intense portrait of a maternal breakdown. He singles out Rose Byrne’s raw, feverish performance as its central achievement.

The standfirst frames the film as an intense, high-stakes ride. It singles out Rose Byrne’s portrayal of a mother on the brink.

Whipp finds the film an exhausting, claustrophobic endurance test, but ultimately admires its impact. He singles out Rose Byrne’s vivid, magnificent performance as the force that makes Linda’s crisis linger.

Lee finds the film an exhausting, often unpleasant experience that does not always work, but says its anxious portrait of motherhood keeps the viewer invested. He singles out Rose Byrne’s sensational, emotionally controlled performance as the film’s standout achievement.

Rooney finds the film transfixing and imaginative, though its sustained anxiety can become exhausting. He singles out Rose Byrne’s riveting, compassionate performance as its central strength.

Willmore finds the film confrontational and compelling, though it feels unfinished and unsure where to go next. She especially praises Rose Byrne’s fearless, funny performance and the suffocating camera work that immerses viewers in Linda’s anxiety.

The page could not be accessed, so its verdict is unavailable. No praised or criticized element could be verified.

Peters considers the film an essential, cathartic work that leaves a lasting impression. She particularly praises Rose Byrne’s tightly wound performance and the claustrophobic soundscape that heightens it.

The critic calls the film an emotional knockout, finding its relentless, disorienting depiction of motherhood both funny and unsettling. Rose Byrne’s fragile, commanding performance is singled out as the film’s central achievement.

Keogan finds the film an intelligent, moody, and unsettling portrait of maternal anxiety. She particularly praises Rose Byrne’s performance and the film’s uncanny, Eraserhead-like atmosphere.

Bria praises the film as an absorbing, anxiety-soaked portrait of parental strain, though its surreal moments do not always blend smoothly with the rest. He singles out Rose Byrne’s high-wire performance and the film’s absurdist treatment of everyday pressures.

The critic finds the film compelling but often repellent, with only its trauma reveal and ending falling short. They praise Rose Byrne’s harrowing performance and the filmmaking that builds the film’s sensory hellscape.

Mathews finds the film an anxiety-laden but worthwhile ride, made continuously compelling despite its difficult subject matter. He singles out Rose Byrne’s performance for anchoring the film without letting her character’s unraveling become unconvincing.

Garner finds the film an intense, effective portrait of motherhood that leaves viewers wanting to check on their mothers. He praises its closeups and carefully composed shots for conveying Linda’s deteriorating mental state.

The page is blocked, so the critic’s verdict cannot be established. Its praise or complaint cannot be identified from the available text.