Lady Macbeth (2016)

The critic calls the film a remarkable, gripping debut that might be the best film of the year. They single out Florence Pugh’s intense performance as Katherine for particular praise.

Bradshaw praises the film as a brilliantly chilling, daring subversion of period costume drama. He particularly singles out Florence Pugh’s lethally charismatic performance and the oppressive atmosphere of the house.

Hutchinson calls the film a compelling, dramatically intelligent period drama that outclasses many of its peers. She especially praises Florence Pugh’s performance as Katherine, while also singling out Naomi Ackie’s strong work as Anna.

Rife finds the film riveting and audacious, though its second half drags and its violent shocks weaken its focus. She praises the performances and claustrophobic atmosphere, especially the tense dynamic between Katherine and Anna.

O'Sullivan calls the film one of the year's most original, despite some implausibilities. She particularly praises Florence Pugh's performance and the film's striking visual style.

Lazic finds the period drama complex and compelling, anchored by Florence Pugh’s strong lead performance. She praises its subtly complex characterization and masterfully composed, near-silent shots, while noting its brutally sour ending.

The critic calls the film fresh, cunning and unflinching, finding its portrait of Katherine’s escape compelling. They praise the stark, spartan setting for deepening the desperation behind her choices.

Dalton finds the adaptation a small but impressive debut, with an amoral darkness and contemporary subtext. He especially praises Florence Pugh’s subtle, assured performance and the film’s crisp, painterly visual style.

Macnab finds the film an original, assured and engrossing debut, despite a predictable plot. He especially praises Florence Pugh’s outstanding performance and the film’s eerie, tense atmosphere.

Lodge finds the film a stark, morally unsettling Victorian tragedy with a distinctly modern edge. He especially praises Florence Pugh’s poised, nuanced performance as Katherine.

Parkinson finds it an intelligently scripted, forceful costume noir that uses Victorian melodrama to explore oppression and morality. He particularly praises Florence Pugh’s arresting performance and the film’s restrained visual and sound design.

Edelstein finds the film compelling and morally unsettling, arguing that it shows victimization turning into oppression. He praises its controlled direction and its portrayal of the oppressive household without relying on excessively long shots.

The review admires the film’s careful construction but wishes it would occasionally break free. It especially praises Florence Pugh’s performance for bringing a dash of madness to the role.

The page identifies this as a review, but its verdict is not visible. The paywall also conceals what the critic singles out for praise or complaint.

The page is blocked, so the critic’s verdict cannot be confirmed. No praise or criticism from the review is available to report.

Turan finds the film expertly made and compelling, but too cold to achieve deeper emotional involvement. He especially praises Florence Pugh’s performance and the film’s precise, elegant visual compositions.

The critic finds the film sexist, psychologically shallow, and ultimately mean-spirited. Florence Pugh’s magnetic, intelligent performance is singled out as its strongest asset, though the critic says it intensifies the character’s remorselessness.

The review calls the film an original, unmissable period drama with a tense, austere atmosphere. It especially praises Florence Pugh’s electric, multifaceted performance.

Wilkinson finds the film a compelling, murky take on a familiar story. She particularly praises Florence Pugh and Naomi Ackie for creating a sharp, largely unspoken tension.

The review finds the film tense and darkly comic, with Florence Pugh’s performance as Katherine especially hypnotising. It also praises the contrast between the freedom of the rural landscape and the oppressive interiors.

The headline indicates a mostly positive but qualified verdict. It singles out the film as arresting while noting that the take on its antiheroine is imperfect.

TheWrap finds the film unmoving and increasingly muddled, despite Florence Pugh’s striking lead performance. It particularly faults Katherine’s abrupt transformation and the film’s failure to develop her inner life or motivations.