On the Rocks (2020)

Brody finds the film a moving, self-questioning examination of style, privilege, and abuses of power. He especially praises Bill Murray’s seductive performance as a charming father whose charisma masks his destructive influence.

Bowen finds the film an enchantingly odd, hopeful screwball comedy with unresolved tensions. He praises its hazy, noir-esque beauty and the performances that make Felix’s charm feel both affirming and demoralizing.

Rooney finds the comedy warmly satisfying, tender, and dryly funny. He especially praises the chemistry and performances of Rashida Jones and Bill Murray.

Ehrlich finds the film a fizzy, bittersweet self-portrait, though it falls short of Coppola’s most memorable work. He praises Bill Murray’s performance and the lively chemistry he brings to scenes with Rashida Jones.

O'Sullivan finds the comedy uneven but ultimately engaging, thanks to the leads' chemistry. She particularly praises Bill Murray and Rashida Jones for giving the film's father-daughter dynamic its jagged edges.

The review presents the film as a warm, wise comedy-drama. It praises the comic chemistry between Bill Murray and Rashida Jones.

Leyland finds the film a breezy, beautifully observed portrait of a father and daughter. He praises Bill Murray’s charming, disarming performance and the leads’ convincing relationship.

Kermode finds the film very enjoyable and deceptively deep, with a winning central pairing. He especially praises Bill Murray’s deadpan performance and Rashida Jones’s nuanced portrayal of a writer struggling with parenthood and self-doubt.

Dowd finds the film a charming, low-key comedy, though less transporting than Coppola’s earlier work. He particularly praises Bill Murray’s loose, funny performance and the father-daughter dynamic it brings to life.

The review finds On the Rocks an appetising, insightful film, though less emotionally weighty than some of Coppola’s earlier work. It praises the performances of Bill Murray and Rashida Jones and highlights Coppola’s exploration of how parenthood restricts women’s identities and creative lives.

White finds the film lighter than expected but eminently charming, with a tender portrait of a daughter finding her way back to herself. She singles out the New York atmosphere and the endearing, regretful relationship between Murray and Jones, while noting that some generational clashes and marital-strife details feel clichéd.

Macnab finds the comedy-drama witty and insightful, though occasionally mannered, with a sharp, icy edge. He especially praises Bill Murray’s impeccable comic timing and sardonic performance.

The accessible text does not reveal Whitty’s full verdict. It describes Coppola and Murray’s soft-focus, dreamlike Manhattan as the film’s notable feature.

The critic finds the film engaging and winning, though ultimately a little thin and short of greatness. He praises Bill Murray’s devilish performance and Rashida Jones’s quietly compelling lead role.

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Strong finds the film slight but charming, and a joy to spend time with. She especially praises the banter between Rashida Jones and Bill Murray.

Flint describes the film as an affable dramedy about marital fatigue and father-daughter issues. The pairing of Sofia Coppola with Bill Murray and Rashida Jones is singled out as a strength.

Chang finds the comedy charming but undernourished, with its family dynamics and marital anxieties feeling familiar. He praises Bill Murray’s mischievous performance, while faulting the thin development of Rashida Jones’s character.

Willmore finds the film emotionally rich but not especially engaging, and says its tidy conclusion fails to reconcile its raw feelings. She praises Bill Murray’s familiar, careless charm and singles out his memorable scene with New York police officers.

Crump finds the film piquant, balancing its dark view of possessive fatherhood with an exuberant surface. He singles out Rashida Jones for anchoring the story with a nuanced, emotionally layered performance.

The review finds the film wise, fun and ultimately worth the ride, despite an underwhelming ending. It especially praises the lively exchanges and chemistry between Bill Murray and Rashida Jones.

The critic finds the film a deft, appealing comedy and sees it as a notable entry in Coppola’s career. Jones’s precise comic timing and her effortless rapport with Murray are singled out as its strongest pleasures.

The critic finds the film entertaining, though too frothy to be one of Coppola’s most substantial works. She praises Murray’s delightful performance and the melancholy beneath the father-daughter caper.

The critic finds On the Rocks a more nuanced and engaged take on familiar New York themes, and says it feels right for its moment. They praise Coppola’s graceful portrayal of Laura’s changing life, especially the visual details that convey her constant motion.

Worthington finds the film a light, bittersweet father-daughter adventure that explores the small tragedies of misogyny. He singles out Bill Murray’s effortless charm and the way Sofia Coppola gives his character’s appeal emotional complexity.

Crow finds the film charming but slight, with a conventional and predictable third act. He praises Rashida Jones’s nuanced performance as Laura, caught between exasperation with and attraction to her father’s antics.

The URL identifies this as a review of Sofia Coppola’s 2020 film. The page content is blocked, so its verdict and specific praise or criticism cannot be determined.

The review finds the film charming but too light to get beneath its surface glamour. It praises the watchable father-daughter pairing of Bill Murray and Rashida Jones, along with the comedy’s belly laughs.

Goldberg finds the film subdued and ultimately dull, with its father-daughter story failing to create much impact. He praises the depiction of the strained marriage but faults the lack of chemistry between Murray and Jones.

Wilkinson finds the film watchable but ultimately average and forgettable. She praises Bill Murray and Rashida Jones, while faulting the weak emotional investment and reliance on clichés.