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42
Based on 10 Reviews
critic reviews (10)
fan reviews ( )
  • 25
    Ian Buckwalter NPR

    The result isn't fresh and realistic, though; it's clumsy and stilted. Improvised dialogue can work wonderfully if the actors have a solid feel for their characters, but everyone here seems rushed and uncomfortable. show more

  • 75
    Chuck Bowen Slant Magazine

    Throughout, Joe Swanberg connects Generation Y's fetish for past pop-cultural kitsch to its attending sexual insecurities. show more

  • 50
    Matt Zoller Seitz RogerEbert.com

    This latest, a thriller about a photographer who might be a killer, is wild pop fly that disappears in the stands. show more

  • 25
    Bruce Ingram Chicago Sun-Times

    There’s not much difference between this nudity-packed yet remarkably dull crime drama and the ’90s-vintage, sleazy pay-cable erotic thrillers it’s referencing, if not emulating. show more

  • 50
    Mike D'Angelo The Dissolve

    24 Exposures is a transparent auto-critique (or self-justification, depending on how you look at it) in the form of a rather vague thriller, and doesn’t work particularly well in either mode. show more

  • 42
    Drew Taylor The Playlist

    24 Exposures has a handful of interesting ideas, and a lot of cute topless girls, but it doesn’t add up to much. show more

  • 40
    Alan Scherstuhl Village Voice

    Swanberg has made an inspiring career out of rejecting the aesthetic crimes of Hollywood. It's dispiriting, then, that he so doggedly indulges in its tradition of male gazing. show more

  • 40
    Gary Goldstein Los Angeles Times

    This brief, loosely-knit film never builds any empathy or tension. show more

  • 40
    Andy Webster The New York Times

    24 Exposures plays like an exercise. With a thin plot — the usual parade of possible killers — it falls to the actors to provide zing. show more

  • 67
    Ignatiy Vishnevetsky The A.V. Club

    Like countless Swanberg films (the prolific director has completed 17 features in less than a decade), 24 Exposures is populated by characters who are defined not by their actions, but by their unwillingness to act. The difference here is the presence of an exterior force—the murders—that makes Swanberg’s naturalistic style seem affected. show more

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