Stillwater (2021)

Hassenger finds the film an oddly compelling, knotted blend of thriller and found-family drama, despite some awkwardness and length. He praises its prickly use of audience sympathy to make Bill’s regrets about his parental shortcomings resonate.

Ehrlich finds the film strained but strangely affecting, with an unexpectedly forceful ending. He praises Matt Damon’s quiet softness and the warmth of the makeshift family at the story’s center.

Debruge finds the film thoughtful and rewarding, though its extended domestic passages may test viewers expecting a more conventional crime thriller. He praises its character-focused scenes for challenging assumptions about how Americans are seen abroad.

Willmore finds the film ambitious and engrossing, though its return to crime-thriller plot feels artificial after a more delicate domestic stretch. She particularly praises Matt Damon’s deft, unshowy performance as a stubborn father whose humanity the film takes seriously.

Freer finds the film entertaining and worthwhile despite its overlong, uneven blend of thriller and relationship drama. He especially praises the warm chemistry between Damon, Cottin, and Siauvaud.

The page identifies this as a Cannes review, but the review text is behind a paywall. Its verdict and any specific praise or complaint cannot be determined from the accessible content.

The review takes a character-focused approach to a story that could have been a slam-bang action film. It highlights Matt Damon’s gung-ho father as a particular point of interest, while suggesting he must temper that attitude to help his daughter.

Flint finds it an engaging, often compelling family drama. She singles out Matt Damon’s fight for his daughter’s future as its central strength.

The review finds the drama compelling but increasingly strained by plot turns that test credibility. It praises Matt Damon’s sturdy performance for holding the film together, while noting Abigail Breslin’s impressive work.

Chang finds the film intelligent and moving, but says its contrivances and compromises are hard to accept fully. He praises the warmth between the actors and the humanity in the film’s quieter passages.

The review argues that the film’s contrived final-act twists derail an already overstuffed story and leave its message hollow. It praises the believable, understated rapport between Matt Damon and Camille Cottin, along with the cross-cultural clashes their relationship brings out.

Dargis gives the film a mixed verdict, finding its ambitions more compelling than its execution. She singles out the performances and the film’s attempt to complicate its crime-story premise.

The review finds the film ambitious and engaging but ultimately uneven, with its story strands failing to cohere. It praises Matt Damon’s restrained performance for conveying how repeated failure can fuel resentment.

Strong finds the film unfocused and disappointing, though oddly compelling. She praises its intriguing exploration of white female fragility and white male violence, while faulting the film for treating that idea as an afterthought.

Rooney finds the film uneven, sluggish and predictable, with its clumsy murder plot undermining its potential. He praises Camille Cottin’s performance and the quietly moving chemistry between Damon and Cottin.

Bradshaw finds the film muddled, tonally misjudged, and deeply flawed. He singles out Matt Damon’s miscasting and the story’s failure to reckon with its protagonist’s violence.

The review finds the film flawed but disarmingly affecting, despite a jarring ending and baggy structure. It especially praises Matt Damon’s nuanced central performance and the film’s quieter found-family drama.

The critic finds the film an ambitious, uneven blend of thriller and intimate character drama, but applauds McCarthy’s willingness to attempt the fusion. They especially praise the film’s Marseille setting and the gentle bond between Bill and Maya.

Wilkinson finds the slow-moving drama compelling but uneven, with its thriller elements disrupting the character-driven story. She praises the convincing performances and especially Lilou Siavaud’s heartfelt work as Maya.

Feldberg pans the film as muddled, flat-footed schmaltz that mishandles its characters and themes. He particularly criticizes Matt Damon’s bland performance and the script’s jarring tonal shifts.

Titmarsh finds the film a major disappointment and criticizes its stagnant storytelling. She singles out Camille Cottin as the only performer who shines.