• Released
  • October 21, 2011
  • (Limited 10/21)
  • R , 1 hr 41 min
  • Drama

Philadelphia Inquirer

By Steven Rea
Moves from its protagonist's dream state to her memories to her waking present in imperceptible shifts - the effect is disorienting, at first, but ingenious.
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Chicago Tribune

By Michael Phillips
The acting in Durkin's feature is excellent. Olsen is utilized largely as an object for camera adoration, but not in the usual glamorizing way. Olsen, Hawkes and company play slippery figures with lovely assurance.
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Rolling Stone

By Peter Travers
It's Olsen, as a damaged soul clinging to shifting ground, who makes this spellbinder impossible to shake.
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Chicago Sun-Times

By Roger Ebert
A linear story, or one that was fragmented more clearly, could have been more effective. Still, a good film, ambitious and effective, introducing a gifted young actress and a director whose work I'll anticipate.
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By Stephanie Zacharek
Olsen's performance is restrained but not tentative; you could say the same for the movie around it.
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Entertainment Weekly

By Lisa Schwarzbaum
Martha Marcy May Marlene leaves a viewer hanging, quite literally, lost in an enveloping fog of mood without resolution. Olsen, meanwhile, definitely marks her arrival.
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The Hollywood Reporter

Elizabeth Olsen steps onto the radar as a seriously accomplished actor in this mesmerizing drama, which also marks an assured feature debut for writer-director Sean Durkin.
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Boston Globe

By Ty Burr
This doesn't feel like art, it feels like a cop-out, as though Durkin couldn't decide how to end his movie, so he didn't. He's a mature filmmaker - a natural - but he's still thinking in shorts.
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USA Today

By Claudia Puig
A horror movie that follows none of the predictable paths of the genre, it offers disturbing psychological drama and nuanced chills rather than outright terror.
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San Francisco Chronicle

By Mick LaSalle
Martha Marcy May Marlene is a strange case, a drama that's disturbing and yet inert. Writer-director Sean Durkin builds an atmosphere of dread, which means that he persuades us to believe in the characters and in the central situation. But he doesn't build interest.
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76 out of 100
Generally favorable reviews
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.