Never Rarely Sometimes Always (2020)

O'Sullivan calls the film gripping, funny, and emotionally affecting, with a romantic core. She especially praises Sidney Flanigan's performance as Autumn, calling it flabbergasting and worthy of an Oscar nomination.

Kermode finds the film profoundly moving, truthful and sensitively made. He especially praises the quiet, beautifully expressed bond between Autumn and Skylar.

Erbland calls the film Hittman’s most vivid work yet, a searing and empathetic portrait of teenage girlhood. She especially praises Sidney Flanigan and Talia Ryder’s onscreen bond, while finding some early scenes of male aggression heavy-handed.

Chang regards the film as a forceful, understated defense of abortion rights and Hittman’s most accomplished feature. He especially praises Sidney Flanigan’s restrained performance and the wordless bond between the two young women.

The critic finds the film extraordinarily real and deeply moving, praising its sensitive portrayal of female solidarity. They single out its restrained performances and intimate camerawork for making the characters’ tenderness feel powerful.

The critic finds the film bracingly honest, haunting, and moving, especially as a portrait of friendship and solidarity. He praises Sidney Flanigan and Talia Ryder’s natural performances and the tenderness of their on-screen chemistry.

Brody gives the film an enthusiastic verdict, praising Hittman’s expansive vision of how social systems shape a young woman’s life. He especially singles out Sidney Flanigan’s performance and Hélène Louvart’s cinematography for conveying Autumn’s alert vulnerability.

Barker calls the film a quietly devastating gem, praising its emotional precision and restraint. He singles out the lead performances and the wordless understanding between the two cousins.

The critic finds the film an authentically felt, politically potent depiction of systems rigged against women. They praise its precise screenplay and delicate cinematography for grounding its social critique in the teenagers’ ordinary, tender emotions.

Strong finds the film heartbreaking and unflinching in its portrayal of reproductive rights. She singles out the understated precision and the bond between Autumn and Skylar for praise.

The review is positive about the film’s restrained, humane portrayal of a teenager seeking an abortion. It singles out the lead performances and the quiet attention to the protagonist’s experience.

Applebaum presents the drama as compassionate and clear-eyed, praising its realistic, subtle approach over melodrama. He also singles out Sidney Flanigan’s impressive performance as Autumn.

The review describes the film as a poignant drama. It singles out its portrayal of the anxieties of youth against a New York backdrop.

Travis finds the film a necessary, unflinching portrait of young women facing barriers and hardship. He particularly praises the clinic sequence, where Sidney Flanigan’s performance commands an unbroken take.

The standfirst presents the film as a powerful drama. The accessible page does not reveal what the critic specifically praises beyond that description.

Willmore finds the film a powerful depiction of the peril created by abortion restrictions, though it sometimes overstates the hostility surrounding its characters. She praises the quiet, unsentimental bond between Autumn and Skyler, especially its small acts of loyalty.

The review text is unavailable, so its verdict cannot be established. No specific element praised or criticized is visible.

Goldberg argues that the film powerfully conveys the cruelty and everyday costs of the abortion system. He especially praises the performances and the questionnaire scene, which communicates Autumn’s experience with remarkable restraint.

DeLeo finds the film poignant, prescient and sharply focused on the obstacles Autumn faces while seeking an abortion. She praises the natural performances by Sidney Flanigan and Talia Ryder, along with Eliza Hittman’s precise direction.

The review calls the film beautiful, emotionally draining, and among 2020’s best. It especially praises Hélène Louvart’s cinematography and Hittman’s measured, compassionate direction.

Han considers the film extraordinary and urgently affecting, praising its clear-eyed, non-moralizing account of the barriers to abortion care. She especially singles out the honest performances and handheld cinematography for making Autumn and Skylar’s ordeal feel immediate and true to life.

The critic calls the film a quietly urgent, potent work of empathetic storytelling. They single out Sidney Flanigan’s performance and the solidarity between the two friends for praise.

Worthington finds the film an intense, humanistic rejoinder to the dehumanization of pregnant women. He especially praises Sidney Flanigan’s restrained performance and the moments of beauty Hittman finds amid the film’s brutal silences.

Nayman praises the film as deft, subtle, and believable, and argues that its intimate story transcends the confines of an issue movie. He singles out Sidney Flanigan’s transparent performance and Hittman’s close attention to small interactions for praise.

The accessible page does not reveal the critic’s verdict. It provides no praise or complaint to summarize.