90

NPR

By Mark Jenkins
Wild Grass is an elegant vessel for outlandish thoughts and troubling impulses. In his rejection of cinematic naturalism, Resnais has made a movie that's both utterly contrived and compellingly lifelike.
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88

New York Post

By V.A. Musetto
Wild Grass is a French movie for people afraid of French movies.
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88

Chicago Tribune

By Michael Phillips
It is craftsmanship incarnate and the embodiment of tonal unpredictability.
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88

St. Louis Post-Dispatch

By Joe Williams
Although it alludes to romantic conventions, with overt references to Hollywood history and an overemphatic jazz soundtrack, Wild Grass is neither poignant nor zany. It's an exercise in artifice, not unlike David Lynch's "Mulholland Drive" set in the City of Lights. I'm sure the French have a word for it, but je ne sais quoi it is.
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83

Entertainment Weekly

By Lisa Schwarzbaum
Wild Grass is itself odd stuff: Sometimes it's as playful as Marguerite's crayon-red corona of frizzy hair, and other times as autumnal as the sight of Georges alone in his study, feeling stuck.
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75

Movieline

By Michelle Orange
The roots of romantic feeling, as explored in Wild Grass, Alain Resnais's jazzy ode to cinema and the love impulse in later life, are equally, spectacularly random.
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50

Boston Globe

By Ty Burr
In its refusal to connect the dots, Wild Grass is playful unto tediousness, and between Azéma's overly cutesy performance -- all Harpo Marx hair-frizz and popped eyes -- and Mark Snow's painfully (purposefully?) banal lounge-jazz score, the movie functions as a theoretical irritant rather than a film.
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50

The Hollywood Reporter

Narratively, Wild Grass is a fractured romance, that never jells on any level, except for the backdrop visuals. Visually scrumptious, as if culled from the pages of good-taste magazines, it has the appeal of a designer catalog, and also the depth.
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25

San Francisco Chronicle

By Mick LaSalle
The worst kind of avant-garde film, one that hides its lack of commitment to the story, the characters and the genre under cover of being experimental. It mocks form and plays with form but offers nothing in its place, just boredom, emptiness and the oldest metaphor in captivity, about grass coming up through concrete.
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20

New York Daily News

By Joe Neumaier
Likely to draw a range of responses. Many will be transported by its gorgeous construction and breathless emotion. Others will find it patently ridiculous.
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65 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.