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reviews

65
Based on 10 Reviews
critic reviews (10)
fan reviews ( )
  • 50
    Walter Addiego San Francisco Chronicle

    A doleful melodrama. There are some intense, moving sequences, but too much emotional badgering and a general shortage of finesse. show more

  • 60
    Joe Neumaier New York Daily News

    Kekilli sensitively portrays Umay's conflicted despair, and the relationship with her son is beautifully rendered. show more

  • 75
    Joe Williams St. Louis Post-Dispatch

    This melodrama about spousal abuse and honor killings might be too grim to bear, but Kekilli keeps it centered. show more

  • 63
    Ty Burr Boston Globe

    As powerful as the movie is, it stays on the outside of a culture looking in. show more

  • 50
    V.A. Musetto New York Post

    Kekilli delivers a perfectly tuned performance. Too bad the script is often clunky and melodramatic, as the first-time director, Vienna-born Feo Aladag, tries to manipulate viewers' emotions. show more

  • 40
    Keith Uhlich Time Out New York

    The film has the look of unflinching truth, yet it too often feels like a calculated ploy to stoke viewers' liberal-guilty consciences. show more

  • 90
    Andrew O'Hehir Salon.com

    Aladag's point, I think, is that no matter how righteous we may feel about this kind of zero-sum cultural collision, for the human beings involved it often results in unbearable tragedy. show more

  • 70
    Nick Pinkerton Village Voice

    Kekilli, more than an unofficial spokeswoman for rebellious Euro-Muslim youth, sells a simple and deterministic story through her sheer presence and precise reaction shots. show more

  • 70
    A.O. Scott The New York Times

    It is frequently gripping and sincere in its intentions, but never quite as revelatory, or as devastating, as it should be. show more

  • 83
    Scott Tobias The A.V. Club

    When We Leave is a film without villains. Instead, it features a set of circumstances that inevitably and needlessly spin out of control. show more

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