Sleepwalking Reviews

  • If you had programmed a computer to come up with a movie that is nothing but a string of the deadliest indie-film situations and moods, you'd have Sleepwalking, a soporific dud, which should have been tossed out of Sundance.

    Owen Gleiberman — Entertainment Weekly

  • Filmed mostly in winter, in browns, grays and soiled whites, Sleepwalking sustains a mood of unrelenting bleakness, wearing its aesthetic of desolation like a badge of integrity.

    Stephen Holden — New York Times

  • Portentous and dull, the film features one of the worst over-the-top performances by Dennis Hopper, who plays an abusive father. His role upends what could have been a mildly interesting family drama.

    Claudia Puig — USA Today

  • An inert, sloppily written melodrama as grim and featureless as its frozen Midwestern setting.

    Ann Hornaday — Washington Post

  • The movie seems terrified of true psychological complexity or perversity. It's less a family tragedy than a lousy country dirge.

    Wesley Morris — Boston Globe

  • Theron and Woody Harrelson (as James's party pal Randall) provide vitality against the film's heavy load, but they aren't around long enough to keep it from collapsing under its own portentous weight.

    Michelle Orange — Village Voice

  • It's no easy task staying awake through Sleepwalking, a downbeat debut from Bill Maher (no, not that one). Only a typically intense performance from co-star Nick Stahl offers the jolt needed to keep us alert.

    Elizabeth Weitzman — New York Daily News

  • Charlize Theron only gets better as an actress, and she certainly wouldn't sign on to a low-budget indie such as Sleepwalking without believing in the material. The material, alas, does Theron no favors.

    Michael Phillips — Chicago Tribune

  • The movie seems unusually honest in portraying the no-option existence of the working poor, but the story slips into melodrama in the last reel.

    J. R. Jones — Chicago Reader

  • Relentlessly downbeat, with a glimmer of a payoff in the last couple of scenes, Sleepwalking is a film that has 'indie' written all over it -- for better and for worse.

    Bill Goodykoontz — Arizona Republic

  • When you see how hopeless the lives of the American people have become in endless independent films that drive the movie audience away in mobs, you understand why the big, dumb action comics and Will Ferrell alleged comedies make all the money.

    Rex Reed — New York Observer

  • Sleepwalking stands as a heartening reminder that the future of American cinema may rest with those independent filmmakers working far from the bottom-line executives heading the shattered remnants of the old Hollywood studios.

    Andrew Sarris — New York Observer

  • Beware any movie that ends with a cliche as dire as 'Today is the first day of the rest of your life.' What comes before that in Sleepwalking is relentlessly depressing.

    Lou Lumenick — New York Post

  • Saddled with a title all too true to its somnambulist pace, Sleepwalking is a textbook case of a bad movie partially redeemed by good acting.

    Peter Howell — Toronto Star

  • Each bend in the road positively screeches with the urgency of impending catharsis, but the film never earns its resolution.

    Leo Goldsmith — indieWIRE

  • The transparently familiar issues -- abuse, unemployment, parental neglect, promiscuity -- are stapled onto characters who never seem credible.

    Rick Groen — Globe and Mail

  • Sleepwalking is a frustrating case because Stahl, Robb and Theron all give performances that are subtle, delicate and smart -- it's just that they're steamrollered by the movie's relentlessness.

    Stephanie Zacharek —

  • Sleepwalking provides character arcs for its two protagonists but neither is as interesting or memorable as the performances warrant.

    James Berardinelli — ReelViews

  • This is a breakthrough performance [for AnnaSophia Robb] that should do wonders for her career.

    Stephen Farber — Hollywood Reporter

  • Terrific performances and a bleak, riveting look at life on the economic fringes eventually gives way to an overly familiar tale of abuse, denial and catharsis that feels like warmed over Sam Shepard minus the poetry.

    Kevin Crust — Los Angeles Times

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