The Nightingale (2018)

The review regards the film as a powerful, harrowing work. It singles out Jennifer Kent’s unflinching treatment of colonial violence for praise.

Garrett calls the film brilliantly harrowing and an impressive follow-up to The Babadook. He emphasizes its brutal violence and disturbing subject matter.

The critic calls the film an astonishing and essential work, finding its unflinching revenge story profoundly powerful. She especially praises the nuanced relationship between Clare and Billy, which complicates the film’s treatment of colonialism and justice.

Dowd praises the film as a harrowing, politically resonant Western whose severity is purposeful rather than gratuitous. He especially singles out Aisling Franciosi and Baykali Ganambarr, whose performances make the characters’ hard-won empathy moving without sentimentality.

The critic calls the film gripping and powerfully made, despite its disturbing violence and questions about how sensitively it handles race and gender. They single out Baykali Ganambarr’s performance as extraordinary, especially its heartbreaking emotional range.

O’Sullivan finds the film intensely dramatic and ultimately surprisingly comforting despite its extreme violence. She praises the powerful performances and Kent’s vivid, carefully crafted sense of place, while noting a misstep in how the rape of an Indigenous woman is depicted.

Chang praises the film as a profound, urgent examination of colonial violence and the moral complexity of revenge, though he finds its final stretch less focused. He singles out Baykali Ganambarr’s performance for reshaping the story and challenging Clare’s moral perspective.

Aspinall finds Jennifer Kent’s film assured, though its opening is gruelling. He singles out Aisling Franciosi’s compelling transformation as Clare for praise.

Lodge finds the film a magnificent, ambitious revenge tale, though its finale becomes repetitive and overlong. He especially praises the soulful, evolving bond between Clare and Billy.

Strong finds the film devastating and uncomfortable, but necessary and vital in its treatment of colonial violence. She particularly praises Aisling Franciosi’s spellbinding performance and Kent’s fresh perspective on the genre.

The critic finds the film harrowing but powerful, an uncompromising journey through colonial violence. She singles out Aisling Franciosi’s performance for its force and emotional depth.

The available page identifies this as Jonathan Romney’s Venice review, but the review text is behind a paywall. Its verdict and any specific praise or complaint cannot be determined from the visible content.

Scaife finds the film’s treatment of violence repetitive and overly declarative, despite its potential as an exploration of futility. He praises the restrained images of barren trees and the nuanced differences in Clare and Billy’s powerlessness.

The critic finds the film ambitious and worthwhile, though its execution is often monotonous and sedate. They praise its unsentimental attention to colonial violence and Tasmania’s social hierarchy.

Rooney finds the film ambitious and often successful, but says its storytelling falters in the middle and at the climax. He praises Aisling Franciosi and Baykali Ganambarr, especially the touching development of their characters’ relationship.

The review finds the film intense and politically forceful, but often punishing to watch. It singles out the colonial violence at the heart of Clare’s pursuit as the film’s central force.

Edelstein finds the film’s graphic violence and revenge melodrama heavy-handed, with little of the metaphorical depth of Kent’s debut. He praises the film’s original, dark visual framing and Aisling Franciosi’s performance.

Kermode finds the film powerful and assured, praising its central performances and Kent’s handling of its complicated pacing. She singles out its unflinching portrayal of colonial violence and the evolving connection between Clare and Billy.

Crump finds the film bleak but artistically accomplished, and says it reshapes the expected satisfactions of revenge cinema. He praises the precise filmmaking and strong performances, especially the way the story shifts to Billy’s perspective.

Nemiroff calls the film challenging and unforgettable, praising Jennifer Kent’s skillful, uncompromising storytelling. She especially singles out the heartfelt bond between Clare and Billy, while noting that the brutal imagery may be too much for some viewers.

Fletcher finds the film challenging but rewarding, and praises its emotional power amid its brutality. She singles out the warmth and nuance of the two lead performances.

The critic calls the film an almost unbearable but essential challenge, denying viewers the catharsis typical of revenge dramas. He praises the honest bond between Clare and Billy, and highlights the cinematography’s contrast between Tasmania’s beauty and human brutality.

The critic calls it a fantastic, accomplished film, though its opening may prove too intense for some viewers. They praise Aisling Franciosi’s mesmeric performance and Kent’s fearless handling of real-world violence and imperialism.

Walsh finds the film powerful but deliberately unsatisfying, confronting viewers with historical horrors that echo the present. He praises Kent’s skillful direction and the film’s striking beauty, even amid its brutality.

Goble finds the film tense, compelling, and worth seeking out despite its difficult subject matter. He praises its unflinching portrayal of violence and its elegiac sense of place.

The critic finds the film harsh and divisive but ultimately powerful and difficult to forget. She praises the performances of Aisling Franciosi and Baykali Ganambarr, especially the evolving bond between their characters.

The critic finds the film brutally effective, though its discussion of colonial violence can feel awkward. They praise its unflinching portrayal of trauma and the emotional connection between its two leads.

The critic finds the film flawed but beautiful, and ultimately an interesting work despite being a disappointment after The Babadook. They praise the cinematography and the leads’ engaging performances, while objecting to graphic, repetitive scenes that slow the story.