Lizzie (2018)

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.