The Room Next Door (2024)

The critic hails it as a glorious rumination on mortality, praising Almodóvar’s successful venture into English-language cinema with strong performances from Moore and Swinton, and its blend of melodrama and political commentary on America. They single out the electrifying chemistry between the leads.

The critic praises Almodóvar's adaptation as a slow-burn miracle and chamber drama, highlighting the subtle and nuanced performances of Moore and Swinton as they navigate friendship and mortality in a delicate pas de deux.

Almodóvar’s most death-obsessed film to date meditates on mortality with tender performances from Moore and Swinton and an intact eye for color and contrast. The English-language translation mutes the director’s Spanish sensibility and melodramatic leanings, making some elements feel off-kilter or corny.

The critic calls the film a tough, tender and brittlely funny portrait of two women facing death and a difficult request. He singles out the casting against type, with Swinton as the frail but determined Martha and Moore as the anxious Ingrid.

The critic describes it as a powerful euthanasia drama, commending the performances of Moore and Swinton, the immaculate production design, and the film's thoughtful questions on end-of-life ethics. They single out the sophisticated cast and Inbal Weinberg's production design.

The review finds the film ultimately moving and fresh in its handling of death and friendship. It singles out the career-best performances by Tilda Swinton and Julianne Moore for particular praise.

The review calls the film a haunting drama where Swinton and Moore excel as two women confronting mortality and legacy. It praises the vivid colour and emotional depth despite the austere tone.

The film is a mixed bag that eventually delivers, with Swinton and Moore saving Almodóvar’s uneven English-language debut through their luminous performances. It praises the director’s visual attention to color, symmetry, and detail while noting risks of becoming an arid intellectual exercise.

The review describes the film as understated and lovely, praising its sumptuous colour palette, humour and killer dialogue. It highlights the restrained direction and strong lead performances amid weighty themes.

The critic notes that the film will not make you cry but appreciates its graceful and humorous handling of death and friendship. It singles out the profound shared laughter and the two-hander between Swinton and Moore in upstate New York for praise.

The critic views it as a substantial late-period achievement, praising the superbly matched duo of Swinton and Moore, the director’s visual meticulousness, and its exploration of friendship and complicity in illness. They single out its defiant blow against ennui and new territory for the director.

The critic praises Almodóvar’s nuanced meditation on mortality and friendship in his first English-language feature, highlighting the graceful exploration of euthanasia and the performances of Swinton and Moore. They single out the film's ability to create space for reflection on death while noting its subtle political commentary.

The critic finds the film stylish but emotionally empty, noting that Tilda Swinton and Julianne Moore seem constrained in Almodóvar’s first English-language feature. It praises the mid-century architecture and design but complains that the central friendship lacks warmth and lived-in detail.

The critic finds Almodóvar’s English-language debut a moving, straightforward drama about two old friends confronting mortality and euthanasia. She singles out the blunt, plain-spoken conversations and the strong performances by Julianne Moore and Tilda Swinton.

The critic calls the film a clunky disappointment and Almodóvar’s English-language debut thin, comparing it unfavorably to middling Woody Allen. It singles out the unchallenging roles for Moore and Swinton and the talky, waiting-heavy premise as complaints.

The critic describes it as a dark hit continuing Almodóvar’s evolution, focusing on friendship, family and mortality in his first English-language film. It praises the intensely moving final act connecting to James Joyce’s The Dead.

The critic hails the film as a lyrical, moving confrontation with death that lifts the viewer through its honesty. He singles out Tilda Swinton’s monumental, raw performance as the cancer-stricken Martha.

The critic calls it the most beautiful and hopeful movie of the year, praising the stunning performances of Moore and Swinton and Almodóvar's exploration of friendship, death, and political themes around assisted dying.

The critic calls the film a thoughtful, vital and radiant work about mortality and female friendship. They single out the strong, theatrical performances by Julianne Moore and Tilda Swinton as the two women reconnect and confront death.

The critic finds the film uncertain in tone, imposing melodrama on a delicate story with stilted dialogue. The restrained performances by Swinton and Moore and the reflective ending stand out as highlights.

The review finds the film surprisingly tame and lacking Almodóvar’s usual subversion, criticizing repetitive dialogue and style-over-substance approach despite strong visuals and performances.

The critic notes the film's authentic NYC setting and strong production design but criticizes its verbose, play-like structure and lack of visual flair. Julianne Moore's understated performance is highlighted as the best element.

The critic finds the film listless and overly verbose in its monologues on death despite solid acting. They single out Almodóvar’s visual command and Tilda Swinton’s performance as highlights amid the talky structure.

The critic celebrates Almodóvar’s English-language debut as a vibrant, life-affirming adaptation that highlights the power of friendship, art, and nature in the face of death, praising the performances of Moore and Swinton along with the film’s stylish visuals and costumes.