The Girl (2012)

Crace calls the film a class act and a peerless study of sexual obsession. He particularly praises Toby Jones’s portrayal of Hitchcock, which leaves the director’s motives intriguingly unresolved.

Goldberg finds the film a measured, harrowing portrait that stays with the viewer, though it lacks Hitchcock’s thrills and catharsis. He praises its pragmatic style and psychological detail in portraying Hedren’s abuse without sensationalizing it.

The review finds HBO’s look at Hitchcock and Hedren fascinating as a backstage drama. It praises the film’s behind-the-scenes focus.

The page identifies this as a review pairing The Girl with Hitchcock, but the critic’s verdict is not visible. The available text frames the comparison around film history versus film fantasy, without revealing what the critic praises or faults.

Rooney finds the film entertaining and absorbing, but ultimately superficial and short on psychological insight. He praises Toby Jones’s technically precise Hitchcock portrayal while faulting the script for reducing the characters’ complex dynamic to literal, shallow terms.

Brody finds the film mediocre as a drama but irresistibly fascinating as criticism of Hitchcock’s films and abuses. He singles out Imelda Staunton’s performance as Alma and the film’s depiction of Hedren’s hair dyeing as especially revealing.

Lloyd finds the film’s performances effective but says the drama ultimately lacks the substance to stand on its own. He praises Toby Jones’s impersonation of Hitchcock while noting that the portrayal feels less persuasive as the story escalates.

Seitz finds the film serious and visually accomplished but ultimately insufficiently imaginative, with an unconvincing empowerment ending. He praises its carefully composed shots of Hedren on set and its visual references to Hitchcock’s films.