83

The A.V. Club

By Noel Murray
Welcome To Pine Hill is a short, docu-realistic film, with very little plot and scenes that play like loose improvisations. Miller is mainly interested in the various spaces Harper inhabits, and how he inhabits them.
Full Review
80

The New York Times

By A.O. Scott
[Mr. Miller's] film shows the influence of other recent work in the American neo-neo-realist vein, notably Ramin Bahrani’s “Goodbye, Solo” and Lance Hammer’s “Ballast,” and like them relies on understatement and indirection to arrive at a powerful and resonant meaning.
Full Review
80

Time Out New York

By Eric Hynes
Miller’s ace in the hole is the hulking, regal Harper, whose round face vacillates between childlike mirth and lung-stomping sadness. His casual charisma not only commands our attention and affection, it sidelines every social or thematic concern to this singular, tentatively aspiring life.
Full Review
70

Los Angeles Times

Mixes real-life situations and characters with fictionalized narrative threads to create a highly authentic slice-of-life drama.
Full Review
70

Village Voice

At times the improvised dialogue seems too schematic and superfluous, especially in view of such exploratory and observant handheld camera work. Otherwise, though, this is wonderful stuff.
Full Review
67

The Playlist

By Rodrigo Perez
While far from perfect, Welcome To Pine Hill works more often than it doesn’t and is an intimate and existential character study of a man out of place with his past, himself, and his surroundings, and the push and pull of former and future worlds beckoning him.
Full Review
63

Slant Magazine

Keith Miller doesn't always trust the fluency of his visual language, occasionally forcing a point that's already being captured.
Full Review
74 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.