Lovely Molly Reviews

  • (Lovely Molly movie review at New York Times)

    New York Times

  • Generating suspense without blowing the special-effects budget, Mr. Sanchez paints an intimate portrait of a tormented personality.

    Jeannette Catsoulis — New York Times

  • Has all the interest of watching an inexplicably untreated wound fester.

    Nick Pinkerton — Village Voice

  • [Sanchez] demonstrates that a well-timed door slam and a cleverly framed shot of an ordinary household object are as creepy as ever.

    Farran Smith Nehme — New York Post

  • Sanchez ratchets up the tension incrementally - things heard and not quite seen - creating a mood of unease that graduates in stages into full-blown horror.

    Bruce Demara — Toronto Star

  • Some of the shock effects in Lovely Molly are successfully disorienting, but too many of its ideas are reductive and histrionic, such as those concerning the male victimization of women, vengeance and mental illness.

    Adam Litovitz — Globe and Mail

  • Common sense and basic logic are left are the door; there's a brief creature effect that is laughably, outlandishly awful.

    Mark Olsen — Los Angeles Times

  • Doles out its best ideas and moments with a strong sense of restraint, timing, and impact.

    Scott Weinberg

  • I don't think I've ever been so bummed out by a horror flick as I was by writer-director Eduardo Sanchez's Lovely Molly. And I've seen every single Friday the 13th.

    Steve Newton — Georgia Straight

  • If the people in it behaved in a logical way, then there wouldn't be a movie.

    Moira MacDonald — Seattle Times

  • Gretchen Lodge constantly rises above the film and the material. She alone provides good reasons why younger film-goers who are inexperienced in this type of horror might well find it gripping, shocking and enjoyably nasty.

    Graham Young — Birmingham Mail

  • Sanchez has not had an easy time since Blair Witch - and this hand-held rerun is unlikely to make it any better.

    This is London

  • The film presents us with too many unearned revelations, and it unravels.

    Peter Bradshaw

  • Depressing and lazily nonsensical...

    Tim Robey — Daily Telegraph

  • as perhaps befits a film about moving house, this mixed-media mindmelt requires a lot of unpacking.

    Anton Bitel — Little White Lies

  • This succeeds thanks to Lodge's extraordinary central performance, a terrifyingly mesmerising study of a woman in diabolic torment

    Tim Evans — Sky Movies

  • [Its] cynical hedging of its psychological/supernatural bets seems mostly designed to breed sequels.

    Nigel Floyd — Time Out

  • Lovely Molly leaves plenty to talk about, but it gives so little firm information that one wonders if there are really any coherent answers to be found.

    Hannah McGill — The List

  • The script lacks focus, the to-camera element doesn't add anything new and the film ultimately fails to provide any scares, beyond the odd soundtrack-assisted jump.

    Matthew Turner — ViewLondon

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