--- title: "Lizzie" year: 2018 kind: "film" canonical: "https://film.one/film/lizzie" fi1m_id: "lizzie" imdb_id: "tt5160938" tmdb_id: 460071 fi1m_score: 60 critics_score: 57 critics_reviews: 20 published: "2026-09-24T22:23:44.918673+00:00" updated: "2026-09-24T22:24:10.653996+00:00" region: "GR" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Lizzie (2018) Directed by Craig Macneill · 1h 46m · Crime, Drama, Thriller ## Identity Lizzie - **Canonical:** https://film.one/film/lizzie - **Type:** Film - **Fi1m ID:** lizzie - **IMDb ID:** tt5160938 - **TMDB ID:** 460071 - **Same entity:** https://www.imdb.com/title/tt5160938/, https://www.themoviedb.org/movie/460071 **Fi1m score: 60** · Critics 57 from 20 reviews *In a sentence:* Two women fall in love by candlelight because the man of the house will not pay for lamps > Craig Macneill’s version of the Borden murders is patient, handsomely gloomy and well played by Chloë Sevigny and Kristen Stewart. It is also so intent on being serious that it forgets to be gripping, and the morning everyone is waiting for is a long time coming. ## Synopsis Fall River, Massachusetts, 1892. Bridget Sullivan (Kristen Stewart), a new Irish maid, arrives at the home of Andrew Borden (Jamey Sheridan), a rich man who keeps his house dark and his grown daughters on an allowance. The household calls her Maggie. The younger daughter, Lizzie (Chloë Sevigny), is unmarried, prone to fits, and expected not to go to the theatre alone; she goes anyway. Her stepmother Abby (Fiona Shaw) keeps the peace and her sister Emma (Kim Dickens) keeps her head down. Threatening notes start arriving for Andrew, and Uncle John Morse (Denis O’Hare) comes to stay and talk about who will inherit. Lizzie begins teaching Bridget her letters at the kitchen table after dark, and the two women find reasons to be alone in the barn. Everyone knows how the summer ends. ## Review Everyone knows the rhyme, and Craig Macneill knows we know it. His film about Lizzie Borden opens with the police already in the house, then steps back several months to show how a household gets to that morning. Bryce Kass’s script wants to know who holds the keys, who pays for the lamps and who is allowed out of the front door. It is a serious, careful, dimly lit picture with two good performances in it, and for long stretches it is too quiet for its own good. Chloë Sevigny, who also produced, plays Lizzie as a woman who has stopped expecting anything. She stares, she says little, she goes to the theatre alone because nobody will take her, and when she does answer her father it is with a flatness that is its own kind of insolence. It is a performance made of small refusals, and it holds. Kristen Stewart’s Bridget, the new maid whom the family insists on calling Maggie, is all downcast eyes and quick hands at first; the film lets her look up slowly. The scenes in which Lizzie teaches Bridget to read at the kitchen table are the warmest thing here, and the two actresses play them without a wasted gesture. Jamey Sheridan’s Andrew Borden is the film’s engine. He is not a shouter. He is a rich man who will not pay to light his own house, who opens his daughter’s post, and who walks the upstairs corridor at night with a candle. The first time he stops at Bridget’s door, and she lies still and waits for it to be over, we were horrified, and the film earns it by showing almost nothing: a latch, a shadow, Stewart’s face turned to the wall. Fiona Shaw’s Abby watches all of this and says less than she knows. Kim Dickens, as the elder sister Emma, has the thankless part of the woman who gave up years ago. Denis O’Hare arrives as Uncle John Morse, smelling of money that is not yet his, and the house tightens a notch. Noah Greenberg shoots most of it by whatever is available, a candle, a window, a single lamp, so faces come at us half lit and the far corners of every shot are simply black. Elizabeth Jones’s house is narrow stairs, dark papered walls and doors that are always shut, and it makes the point about money kept and not spent better than any line does. Natalie O’Brien buttons Lizzie into high black collars and puts Bridget in a uniform she plainly did not choose, and the two of them only look like themselves out in the barn. Jeff Russo’s score is low strings holding a note until it hurts, and between his cues the soundtrack is clocks and floorboards, so that a footstep on a landing carries more threat than most films get from a knife. The trouble is that Macneill sets the temperature at a simmer in the first ten minutes and does not touch the dial for the next ninety. Abbi Jutkowitz ends nearly every scene on the same image, a held look across a dim room, and the rhythm becomes a lullaby. Kass gives Lizzie a couple of speeches about what men are permitted and women are not, and Sevigny delivers them well, but they say out loud what the house had already told us. Around the hour mark we noticed we were waiting for the axe, which is not a feeling a film this careful should have let us have. When the morning finally comes, it is staged with more nerve than anything before it, and by then we were too worn down to be shaken. That annoyed us, because the shock had been built properly and then left on the shelf too long. There is a lurid version of this story, and it has been made more than once for television, with wigs and the rhyme on the soundtrack. Macneill has made the other one, and we respect him for it. But a slow film still needs a change of pace somewhere before the last reel, and *Lizzie* has none. It runs 106 minutes and carries an 18 certificate. Watch it at home on a dark evening and do not expect a thriller. Expect a chamber piece about a locked house, well played, with two women worth watching in it and a long, quiet wait before anything is allowed to happen. We would not send you to it. We would not stop you either. *Fi1m score 60, published 24 September 2026.* ## What the critics say Most critics are split down the middle on Lizzie, with as many mixed verdicts as positive ones. Where the reviews agree is on the two leads: Chloë Sevigny’s performance is praised almost everywhere, and Kristen Stewart’s nearly as often, with the tenderness and restraint between the two women named as the film’s strongest element. Noah Greenberg’s cinematography draws repeated notice for its sensuous, oppressive picture of the Borden house, and several reviews single out the sound design. The reservations cluster on pace. Many reviews find the film too measured and self-serious, with the long setup draining tension from the finale, and Paste faults it for refusing the lurid possibilities of the story. Critics disagree about the ending: Empire finds it turns sensationalistic, while others find it tedious once the murders are done. The spread is wide, from warm recommendations to outright dismissals, with Variety and Vulture the harshest, both finding the drama weak despite its feminist framing. ## Straight answers **Is Lizzie worth watching?** *Lizzie* is worth watching only if you want a slow, dimly lit chamber piece rather than a thriller, and we scored it 60. Chloë Sevigny and Kristen Stewart are both good, and the house itself makes the point about money kept and not spent. It is too quiet for too long, and by the time the morning arrives we were worn down rather than shaken. **How long is Lizzie, and what is it rated?** *Lizzie* runs 1h 46m. It is a crime and drama film. **Where can I watch Lizzie in Greece?** *Lizzie* is not on any streaming or rental service in Greece at the moment. It is available in 25 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is Lizzie, and is it suitable for children?** *Lizzie* carries an 18 certificate and is not suitable for children. Most of its running time is quiet and slow, but it contains a night-time assault on a maid by the master of the house, shown mostly through a latch, a shadow and a face turned to the wall, and the murders when they come are staged with real nerve. Teenagers and the squeamish should be warned about both. **What should I watch after Lizzie?** After *Lizzie*, try [*Heavenly Creatures*](https://film.one/film/heavenly-creatures) (1994, Fi1m 84): Two girls, a shared secret and a murder; Jackson gives it the heat this lacks. Then [*Portrait of a Lady on Fire*](https://film.one/film/portrait-of-a-lady-on-fire) (2019, Fi1m 89): Women looking at each other by candlelight, and this time the looking is the whole film. ### Reviews we read (20) - **Slant Magazine**, Henry Stewart (3/4): Stewart views the film as a bleak, effective feminist reframing of the Lizzie Borden story, though some dialogue is too overtly feminist. He singles out Kristen Stewart’s performance and the film’s oppressive domestic atmosphere for praise. [Read](https://www.slantmagazine.com/film/lizzie/) - **The Guardian**, Jordan Hoffman (75/100, inferred): Hoffman finds the film gripping, well acted and sharply written, and sees it as a compelling slow burn about patriarchal abuse. He particularly praises Chloe Sevigny’s performance and the tenderness in her scenes with Kristen Stewart. [Read](https://www.theguardian.com/film/2018/jan/21/lizzie-review-chloe-sevigny-kristen-stewart-gruesome-lesbian-axe-murder-borden) - **The Hollywood Reporter**, Leslie Felperin (70/100, inferred): Felperin calls the film an elegant, sensitive, and stylish take on the Lizzie Borden legend, though its tonal shifts may divide viewers. She particularly praises Chloë Sevigny’s performance and the sensuous atmosphere created by the cinematography. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/lizzie-review-1076232/) - **Empire**, Liz Moody (65/100, inferred): The critic finds the film absorbing and well acted, but says it loses its grip as it becomes sensationalistic. Sevigny and Stewart’s compelling central performances are singled out for praise. [Read](https://www.empireonline.com/movies/reviews/lizzie-review/) - **Screen Daily**, Anthony Kaufman (64/100, inferred): The review's verdict is unavailable because the article text is behind a paywall. The accessible page provides no detail about what the critic praised or criticized. [Read](https://www.screendaily.com/lizzie-sundance-review/5125758.article) - **The AV Club**, Katie Rife (C+): Rife finds the film dull and structurally confused despite its promising premise. She singles out Kristen Stewart’s passionate performance, while criticizing the slow setup and poorly timed tension. [Read](https://www.avclub.com/for-a-tale-full-of-blood-and-sexual-tension-lizzie-is-1829042820) - **IndieWire**, Kate Erbland (C-): The critic finds the film listless, with its central romance failing to generate the passion needed to support its story. She praises the cinematography and the restrained, non-exploitative handling of a striking nude scene. [Read](https://www.indiewire.com/features/general/lizzie-review-chloe-sevigny-kristen-stewart-murder-borden-1201919007/) - **Little White Lies**, Monica Castillo (45/100, inferred): Castillo finds the film uneven, with its suggestive premise and contrived plot keeping it from fully committing to camp. She praises the costume and production design and finds its exploration of the employer-servant power dynamic most compelling. [Read](https://lwlies.com/festivals/lizzie-sundance-review) - **Radio Times**, Victoria Luxford (2/5): Luxford finds the film initially atmospheric but ultimately slow and dull. She praises Chloë Sevigny’s performance, while faulting the drawn-out plot for draining impact from the finale. [Read](https://www.radiotimes.com/movie-guide/b-tzs6kr/lizzie/) - **Los Angeles Times**, Katie Walsh (30/100, inferred): Walsh finds the film methodical and measured to a fault, with its seriousness leaving the story too subdued. She praises the sound design, which makes the Borden home feel like a character. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-lizzie-review-20180912-story.html) - **Variety**, Amy Nicholson (30/100, inferred): Nicholson finds the film’s feminist reimagining compelling in its performances and visuals, but ultimately ham-handed and dramatically weak. She particularly praises Noah Greenberg’s cinematography, while criticizing the repetitive murder scenes and underdeveloped third act. [Read](https://variety.com/2018/film/reviews/sundance-film-review-lizzie-1202671035/) - **Vulture**, David Edelstein (30/100, inferred): Edelstein finds the film bloodless and underpaced, despite its timely feminist framing. He praises Jamey Sheridan’s performance and the sound design of the ax blows. [Read](https://www.vulture.com/2018/09/review-lizzie-borden-biopic-lizzie-is-a-little-bloodless.html) - **The Wrap** (80/100, inferred): The critic finds the film a haunting, provocative romance and praises its portrayal of women constrained by patriarchy. They single out the cinematography and the affecting performances by Chloë Sevigny and Kristen Stewart. [Read](https://www.thewrap.com/lizzie-film-review-chloe-sevigny-kristen-stewart/) - **Collider**, Matt Goldberg (B-): Goldberg finds the film a cold, remote missed opportunity that never develops its ideas about gender and power. He praises the electric chemistry between the leads, especially Chloë Sevigny’s performance. [Read](https://collider.com/lizzie-review-kristen-stewart-chloe-sevigny/) - **Consequence**, Dominick Suzanne-Mayer (70/100, inferred): The critic finds the film compelling and thoughtful, though not especially exciting. They praise the delicate performances of Chloë Sevigny and Kristen Stewart, particularly the tension and restraint in their relationship. [Read](https://consequence.net/2018/09/film-review-lizzie/) - **/Film**, Ben Pearson (7/10): The critic finds the film fascinating and ferocious, praising its feminist reimagining of Lizzie Borden’s story. They single out the strong performances by Chloë Sevigny and Kristen Stewart, whose connection gives the drama its emotional force. [Read](https://www.slashfilm.com/555787/lizzie-review/) - **HeyUGuys** (70/100, inferred): The critic finds Lizzie an absorbing, potent drama, though it becomes tedious after the murders. They single out the performances and the tension built through the plotting and unsettling score. [Read](https://www.heyuguys.com/lizzie-review/) - **Den of Geek**, Lou Thomas (3/5): The review finds the film thoughtful but too reserved and ultimately undercooked. It praises the sensitive portrayal of Borden and Sullivan’s relationship, while wishing the film brought more heat to the story. [Read](https://www.denofgeek.com/movies/lizzie-review-an-undercooked-historical-horror/) - **Eye for Film**, Owen Van Spall (60/100, inferred): The review finds the film timely and effective in depicting Lizzie’s oppression, though ultimately more dogged than devastating. It praises Chloë Sevigny’s performance and the painfully touching bond between Lizzie and Bridget. [Read](https://www.eyeforfilm.co.uk/review/lizzie-2018-film-review-by-owen-van-spall) - **Paste**, Andy Crump (3.0): Crump finds the film banal and frustratingly self-serious. He faults its sluggish pacing and its refusal to embrace the lurid genre potential of its story. [Read](https://www.pastemagazine.com/movies/lizzie/lizzie) ## Details - **Director:** Craig Macneill - **Director:** Craig Macneill - **Writer:** Bryce Kass - **Cinematography:** Noah Greenberg - **Editor:** Abbi Jutkowitz - **Music:** Jeff Russo - **Production design:** Elizabeth Jones - **Costume design:** Natalie O'Brien - **Producer:** Naomi Despres, Elizabeth Destro, Chloë Sevigny - **Cast:** Chloë Sevigny as Lizzie Borden; Kristen Stewart as Bridget "Maggie" Sullivan; Jamey Sheridan as Andrew Borden; Fiona Shaw as Abby Borden; Kim Dickens as Emma Borden; Denis O'Hare as John Morse; Jeff Perry as Andrew Jennings; Jody Matzer as Deputy Fleet - **Runtime:** 1h 46m - **First release (the US):** 19 January 2018 - **Genres:** Crime, Drama, Thriller - **Box office:** $844,786 - **Trailer:** https://www.youtube.com/watch?v=1BHPGudlLuc ## Where to watch in Greece Not streaming, renting or buying in Greece at the last check. Also available in: AR, AT, AU, BE, BR, CA, CH, CL, CO, DE, DK, FI, FR, GB, IE, IN, JP, MX, NL, NO, NZ, PA, SE, UA, US. Add `?region=XX` to this URL for another country. ## If you liked this - *Lady Macbeth* (2016): Another corseted woman in a cold house, and a film with far more nerve. - *The Legend of Lizzie Borden* (1975): The lurid television version, with Elizabeth Montgomery; the one Macneill decided not to make. - *Heavenly Creatures* (1994), Fi1m 84: Two girls, a shared secret and a murder; Jackson gives it the heat this lacks. — [Fi1m page](https://film.one/film/heavenly-creatures.md) - *Portrait of a Lady on Fire* (2019), Fi1m 89: Women looking at each other by candlelight, and this time the looking is the whole film. — [Fi1m page](https://film.one/film/portrait-of-a-lady-on-fire.md) - *The Beguiled* (1971): A house full of women, one man, and a slow tightening you can feel. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/lizzie