Pieces of a Woman (2020)

O’Sullivan gives the film a strongly positive review, despite some melodramatic moments and metaphors that feel overdone. She especially praises Vanessa Kirby’s raw, compelling performance as a grieving mother.

Flint describes the drama as heartbreaking and powerfully performed. She singles out Vanessa Kirby’s robust, unflinching performance as its strength.

Strong finds the film delicate and devastating, while noting a few heavy-handed moments. She especially praises Vanessa Kirby’s emotionally restrained performance and the film’s empathetic portrayal of grief after infant loss.

The critic finds the film harrowing and devastating, despite an excessively twee postscript. Vanessa Kirby’s powerhouse performance is singled out as career-best, with Shia LaBeouf and Ellen Burstyn also praised.

White finds the film powerful but says its courtroom scene and symbolism weaken its otherwise stark approach. She singles out Vanessa Kirby’s breathtaking performance, especially in the intense childbirth sequence.

Debruge finds the film a mature, masterfully acted drama, though its melodrama and symbolism sometimes feel overdone. He especially praises Vanessa Kirby’s nuanced performance and the remarkable childbirth sequence.

Chang finds the film uneven but emotionally powerful, with an irreducible core integrity. He particularly praises Vanessa Kirby’s restrained, commanding performance and the technically striking childbirth sequence.

Rooney finds the drama heavy but absorbing, despite contrived passages and an overly theatrical courtroom climax. He especially praises Vanessa Kirby’s tough, emotionally charged performance as Martha.

The visible text presents the film as an intense drama and praises Vanessa Kirby’s performance. The full review is behind a paywall, so its overall verdict cannot be confirmed.

The critic finds the film emotionally complex and ultimately somewhat too neatly resolved. They praise Vanessa Kirby and Ellen Burstyn’s performances, while faulting the ending for feeling trite after the film’s earlier complexity.

The article page was inaccessible, so its verdict cannot be determined. No specific praise or complaint can be verified from the available page content.

Ehrlich finds the drama scattered and unable to sustain the force of its opening, though it reaches toward a hard-won vision of acceptance. He praises Vanessa Kirby’s committed performance, especially in scenes that convey Martha’s ongoing grief.

Cole finds the film patchy, with its emotional focus weakened by the conventional trial plot. He praises Vanessa Kirby’s naturalistic performance and her nuanced portrayal of grief.

The available description frames the film as a grinding, painful tragedy, but does not reveal the critic’s full verdict. It does not provide enough detail to identify a specific element singled out for praise or complaint.

The review finds the film’s portrayal of grief scattered, clichéd, and emotionally hollow. It praises Vanessa Kirby’s intense performance and the uninterrupted childbirth scene, but says the film fails to give Martha’s trauma genuine depth.

Brooks finds the performances bruisingly impressive but says the film’s staged feel and insistent score keep its grief from landing fully. He singles out Vanessa Kirby and Shia LaBeouf’s powerful acting, while faulting the film for making their pain feel emotionally distant.

Brody finds the film hollow and overblown, arguing that its effort to force emotion leaves its story unconvincing. He singles out the birth scene’s long, uninterrupted take as a suggestive but ultimately pointless device.

The review finds the film an affecting domestic drama, though its relentless misery may overwhelm some viewers. It singles out Vanessa Kirby’s scintillating performance and the harrowing continuous-shot birth scene for praise.

The critic finds the film an unsettling, emotionally powerful meditation on grief, though its sentimental ending is difficult to reconcile with the preceding darkness. Vanessa Kirby’s performance is singled out for making Martha’s pain visible, while the opening birth sequence is praised as gripping filmmaking.

The review finds the film emotionally powerful at first but ultimately unable to make its parts cohere. It praises Vanessa Kirby’s career-best performance and the expertly crafted, harrowing birth scene.

The critic finds the film flawed but worthwhile, especially for its powerful opening. They single out Vanessa Kirby’s convincing performance during the 30-minute childbirth scene for praise.

Oller finds the drama uneven but compelling. He singles out its nearly half-hour birth scene and subtle images of depression and recovery.

The page could not be accessed, so its verdict cannot be established. No specific praise or complaint is available from the page text.

Dunn calls the film a blistering melodrama and praises its powerhouse performances. He singles out Vanessa Kirby’s vivid, compelling portrayal of Martha, while criticizing the heavy-handed symbolism.

The review finds the film’s opening gripping but says the familiar marital drama that follows struggles to sustain interest. It singles out Vanessa Kirby’s performance and the opening sequence for praise.

Wilkinson finds the film grim and structurally fragmented, with characters too opaque or unpleasant to sustain interest. She praises Vanessa Kirby’s committed performance and Mundruczó’s skill in the opening single take, but says neither can overcome the script’s later melodrama.