Mother Mary (2026)

Ehrlich finds the film beguiling, hypnotic, and emotionally resonant, praising its strange exploration of art’s power to heal. He especially singles out Anne Hathaway’s commanding performance and the film’s vivid visual and musical design.

Keogan gives the film a strongly positive verdict, calling it Lowery’s most successful sensory experience. She especially praises the uncanny, wordless dance that reveals the film’s emotional and metaphysical force.

Nugent finds the film a sublime, gorgeous meditation on creativity and collaboration, though its ideas are not entirely new. He especially praises the performances, songs, costume design, and cinematography as a unified artistic achievement.

The review finds the film strange, haunting and unusually original, though it can be wilfully inaccessible. It singles out Michaela Coel’s compelling performance and the film’s distinctive storytelling for praise.

Thompson sees the film as an ambitious, darkly divine pop exorcism whose elements may not fully cohere. He praises the vivid theatrical imagery and the charged performances of Anne Hathaway and Michaela Coel.

The headline indicates a positive verdict on the film as a finely crafted psychodrama. It singles out Anne Hathaway and Michaela Coel as impressive.

Willmore finds the film beguiling but uneven, praising its compelling style while faulting its characters for feeling remote. She singles out a dreamlike sequence of Mary moving between stages as an image that lingers.

The page appears to be a review, but its text is unavailable, so the critic’s verdict cannot be determined. No specific praise or complaint can be identified from the accessible material.

Bingham finds Anne Hathaway spellbinding in this surreal character drama. The review singles out her performance, while noting the dialogue-heavy approach to exploring Mother Mary’s inner life.

The review’s standfirst suggests the film aspires to the effect of its comparisons but may not achieve it. It singles out its mix of The Red Shoes, Suspiria and Black Swan as the point of comparison, not as an unqualified success.

Walsh finds the film overlong and dramatically muddled despite its ambitious ideas. She praises the performances and singles out Hathaway’s live musical scenes as so compelling they leave the viewer wanting more of her.

The critic finds the film dour, muddled and overly earnest, despite its moments of dazzling style. Michaela Coel’s performance and the lavish pop-concert sequences stand out, while the film’s coyness and clunky dialogue draw criticism.

Brody finds the film frustrating and dramatically unfulfilled, arguing that its small-scale approach feels strained and its treatment of stardom is shallow. He praises Michaela Coel’s balletic delivery of Sam’s sharp dialogue, while faulting the script for leaving the characters’ relationship and racial implications unexplored.

Gleiberman finds the film watchable at first but ultimately incoherent and pretentious. He praises Hathaway and Coel’s performances, while faulting the Gothic fantasy turn and the songs.

Rooney finds the film pretentious, dull and emotionally empty. He praises its striking visuals and the knockout costume design, especially Mother Mary’s final dress.

Hammond finds the film weirdly mesmerizing and ultimately satisfying, despite taking too long to reach its main event. He singles out Hathaway and Coel’s exceptional chemistry, along with Hathaway’s thrilling performance onstage.

The critic finds the film an uncanny, conceptually rich ghost story that approaches horror without fully embracing it. They praise the red fabric apparition for evoking both the bond between the women and the lingering nature of memory.

The critic finds the film messy and nearly pretentious, but ultimately captivating. They praise the cast’s commitment and the film’s brazen, dreamy performances.

Bria finds the film emotionally distant, confounding, and ultimately unsatisfying. He praises Hathaway and Coel’s performances, while faulting the script for letting its metaphysical ideas obscure the characters and drama.

The critic finds the film interesting but uneven, with its ideas and surreal turn preventing it from fully coming together. Coel’s grounded performance and the expressive dance scene are singled out as highlights.

The review finds the film unsatisfying despite its strong performances. It singles out Anne Hathaway and Michaela Coel for praise, while criticizing the story as overstuffed.