Mike D'Angelo’s review published on Letterboxd:
Las Vegas Weekly review. Not sure how you fuck up a moment as simple and potentially overpowering as a child's first, belated view of the world, but Abrahamson somehow manages, inexplicably cutting away from Jack's perspective (outside the shed) long before the kid rolls out of the carpet and sees the sky overhead. (If ever there were a film that cried out for partial IMAX, or at least for the abrupt shift from 1:1 to widescreen that Xavier Dolan employed in Mommy, this is the one.) The scenario's inherent pathos is off the charts, though, so lackluster direction can't completely kill it. Larson does solid work—certainly she seems far more human than Saoirse Ronan did in what I saw of Stockholm, Pennsylvania, while still honoring the conflicted and sometimes ugly emotions that someone who'd been imprisoned and violated for years would feel—and while I found Tremblay a bit affected, one could argue that it would be odd for a child raised in those conditions to come across as normal. Still, an opportunity mostly squandered. And I'm the guy who was totally fine with Danny Boyle making 127 Hours absurdly caffeinated rather than locking the camera down as common sense would suggest. At least he did something.