Critic scores range from 0 to 100, with higher scores indicating more favorable reviews.
The film is so singular, it's hard to place. At times, its elegiac visual quality evokes Terrence Malick, but Lowery's scripting is tighter and more accessible. His is truly a fresh voice, exhilarating to hear. Read full review
Lowery is the real deal and understands filmmaking, and this is abundantly clear in this searing, romantic crime drama and love story. Read full review
While virtually every shot looks like a work of art, much of the beauty of Ain’t Them Bodies Saints comes from Lowery’s refusal to choose sides. Read full review
It's a tone poem, really, less concerned with conventional action than with exploring themes of love and commitment through understated performances, sumptuous images (Bradford Young did the cinematography), lovely music (Daniel Hart composed the score) and very few words, intoned elegiacally. Read full review
Lowery isn't a Malick and he's certainly no Kazan, but he's his own man, and a filmmaker to watch. Read full review
Ain't Them Bodies Saints is a film that will reward you for seeking it out. Read full review
The point of this film is the spell it weaves and, by and large, it is successful. It’s the music, it’s the cinematography, it’s the score, it’s Casey Affleck’s hollow speaking voice — they all add up to something that resembles a fever dream facsimile of an eventful movie. Read full review
Such an of-a-piece series of visual monuments in one year means that Ain't Them Bodies Saints has a pretty strong chance of striking some viewers as cliched or affected. Its golden-hour cinematography and persistent awe-and-wonder score sit precariously between stirring and obtrusive, inspiring and derivative. Read full review
Slow as molasses but every bit as rich. Read full review
Ain’t Them Bodies Saints is a tone poem that doesn’t quite live up to its luster. It is so shrewdly perfect and solemn that the strong emotions layered throughout Bob and Ruth and Patrick’s intertwined story become lost in the film’s one-note mood. Read full review
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