"I can still remember my parents coming home from the movie looking like they’d been mugged. It's a hilariously funny film until all of the sudden it isn’t anymore. But seen again years later, with enough sadness in the rearview, the suckerpunch structure no longer feels so radical, rather a good deal more emotionally honest than conventional tear-jerkers with all their foreshadowing and foreboding.” - WBUR's The ARTery. 05/05/2021

"Mosese’s debut is the sort that gets us critics reaching for our lofty rhetoric in part because it’s so thrilling to watch. This is one of those movies that seems to be inventing a new cinematic language as it goes along. By turns alienating and enthralling, it’s an experience richer, deeper and much stranger than I’ve had with a film in some time." - WBUR's The ARTery, 04/09/2021

"It’s really a whole mood, this picture. Men sit quietly and brood in the chiaroscuro cinematography, with an omnipresent cello score by Christopher Benstead that sounds like he’s scraping the bottom of the instrument. I’m an easy lay for this kind of thing, when a filmmaker marries a visual idea to a storytelling conceit. They used to call it directing." - North Shore Movies, 05/06/2021

"Well-researched and even more well-meaning, Crisis provides plenty of sobering statistics but the drama is stilted and schematic. Traffic suffered from some similar screenwriting woes that were transcended by its killer cast and Soderbergh’s alchemical camera savvy. The characters here feel as muted and colorless as the gunmetal grey cinematography." - North Shore Movies, 05/06/2021

“Not unpleasant, which is a problem. I’ve never seen a movie full of real people that feels so phony. Nobody ever gets angry. They don’t say swears, get drunk, bear any resentments or do anything at all that might disrupt this soothing appeal to socially conscious Whole Foods shoppers who will undoubtedly feel good about themselves rooting for a Disney movie about homelessness to win the Oscar.” - Spliced Personality, 09/25/2020

“It's all emblematic of the movie’s stunted worldview, snickering in-jokes, and deliberate distance from anything resembling reality. Waititi tells us that people are truly good at heart in a movie where Anne Frank lives at the end and dances to David Bowie. This is a deeply, distressingly insulated picture. It's the Funko Pop Collector’s Edition of Shoah.” - North Shore Movies, 11/01/2019