Slant Magazine

By R. Kurt Osenlund
The near-imperceptible finesse of Abby's characterization reflects writer-director Stacie Passon's effortless, interesting mix of richness and economy.
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A bold film anchored by Weigert's impressive lead performance.
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Los Angeles Times

By Sheri Linden
It is Weigert's performance that gives the film its mystery and charge. Playing seriously with identity, she draws the viewer ever closer. The way she never reveals everything is electrifying.
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By Anna Smith
Director Stacie Passion doesn't try to ape Buñuel’s surrealist twist on ennui in Belle Du Jour, instead crafting an enthralling, modern tale in which intimacy is a goal rarely achieved.
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The Playlist

By Gabe Toro
This is a frequently titillating film, and Weigert can’t help but add dimensions to that onscreen intimacy and vivid exploration of intimacy, not just seduction but also the shared sensuality of a post-coital chat.
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Movie Nation

By Roger Moore
Concussion deserves more of an audience than just the film festival circuit. And it’s not just an introduction to a writer-director with talent, but to a slew of under-employed and superb actresses, and the hunky Tchaikovsky.
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The Hollywood Reporter

By John DeFore
Although Weigert is convincing as Abby, Passon's attitude toward the character is hazy.
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The New York Times

By Nicolas Rapold
Ms. Passon ultimately seems to skirt some of the larger life questions hinted at along the way.
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By Rob Nelson
Acquitting herself capably in a lead role that strips her bare in more ways than one, Robin Weigert (HBO’s “Deadwood”) proves worthy of a future in features, whereas first-time writer-director Stacie Passon mainly exposes her background in commercials.
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Village Voice

By Melissa Anderson
Its characters are all too easily determined but never specific—or memorable.
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56 out of 100
Mixed or average reviews
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.