Metacritic reviews

Miller's theme is innocence, the loss of it, and the reclamation of equanimity in the face of that loss, and the music she makes is haunting.

Smart and engrossing, if too heavy on the symbolism at times.

One of those passionately atmospheric movies, like Jane Campion's "The Piano," that sounds idiotic on paper, but whose ambiance, charged with eros, rage, regret and optimism, is strangely moving.

One of those novelistic independent films more concerned with atmosphere and character than the particularities of narrative, where contemplating the backstory is more satisfying than anything we see.

Shaky story and predictable developments make this an off-key ballad.

Well-wrought individual scenes and sharply focused acting provide Rebecca Miller's third feature with a measure of gravity, but too much abrupt, even melodramatic behavior and undigested psychological matter leave nagging dissatisfactions.

Day-Lewis is as rooted as an oak in his character and milieu, yet easefully disengaged from the film's pensive histrionics.

Might not have been a bad film if its characters never said anything and some obnoxious visual metaphors were removed.

Ms. Miller has attempted to elevate a small Oedipal story about two damaged souls into a grandiloquent epic, Shakespeare by way of Bob Dylan. She misses by a significantly wide mark, largely because she loves her monster too much and his victim too little.

Some good Bob Dylan songs are called in to underline the big moments, but end up eclipsing them instead. There's more drama and insight in a snippet of "One More Cup Of Coffee" than the entirety of Jack & Rose.