Metacritic reviews

[A] sweet if not very credible film.

The dependable Australian actor Guy Pearce is always welcome, even in a well-meaning dud like 33 Postcards.

The main problem is the criminal subplot, full of Aussie villains snarling “mate” at one another and landing bloodless punches on Dean. 33 Postcards is what happens when someone grafts a prison angle onto “Pollyanna” — the tough guys just get in the way.

This sort of global co-production is becoming more and more common, but it’s rarely quite so calculated; you can practically see the scale being used to ensure that each location receives equal narrative weight, as characters take actions that make sense only according to that metric.

Equal parts thriller and feel-good inspirational tale, 33 Postcards succeeds mainly in provoking the viewer’s sense of disbelief.

The climactic collision of agendas is even more contrived than everything leading to it.

The script's programmatic feel-goodery smooths out everything strange and noteworthy about Dean and Mei Mei's relationship into an unmemorable and unconvincing blandness.

There’s no explaining the presence of Guy Pearce in Pauline Chan’s sappy, atonal family drama. But it’s easy enough to understand why he looks so uncomfortable throughout.

Pauline Chan's film is a jumbled mixture of redemptive uplift and genre hijinks.