32
Metascore
12 reviews · Provided by Metacritic.com
- 60Screen DailyDavid D'ArcyScreen DailyDavid D'ArcyInes and Emilie have tensions between them which are uncomfortably alive, and Langseth’s script is a gnawing reminder that, even when the date of death is set, family quarrels and resentments can still be corrosive.
- 50The PlaylistKevin JagernauthThe PlaylistKevin JagernauthFor a film that literally isolates its characters from the rest of the world to confront each other head-on, the drama plays more conventional than challenging.
- 42The Film StageChristopher SchobertThe Film StageChristopher SchobertEuphoria is undeniably a missed opportunity at creating a drama of frayed sisterhood that feels fresh and unique. The film is also too restrained and unambitious to make a grand statement on mortality.
- 40The Hollywood ReporterJordan MintzerThe Hollywood ReporterJordan MintzerEqual parts solemn and sappy, Euphoria marks a well-performed if extremely heavy-handed foray into English-language filmmaking for Swedish director Lisa Langseth.
- 40Los Angeles TimesNoel MurrayLos Angeles TimesNoel MurrayAlicia Vikander, Eva Green and Charlotte Rampling pump some energy into writer-director Lisa Langseth’s overly static, chatty drama, but are let down by a movie that keeps promising — and failing — to blossom into something more.
- 38RogerEbert.comNick AllenRogerEbert.comNick AllenEuphoria struggles to be little more than a hum-drum meditation on kicking the bucket.
- 30VarietyAlissa SimonVarietyAlissa SimonThe catharsis feels fake and unearned. Moreover, the film lacks the warmth and respect for all of of its characters displayed in Langseth’s previous work.
- 30The New York TimesJeannette CatsoulisThe New York TimesJeannette CatsoulisNotwithstanding a lively turn from Charles Dance as a chatty brain-tumor sufferer and a perfect Charlotte Rampling as a tranquil guide to oblivion, Euphoria gives up the ghost well before either of its unhappy heroines.
- 25The Globe and Mail (Toronto)Kate TaylorThe Globe and Mail (Toronto)Kate TaylorIt is not simply that this film is utterly unrealistic – perhaps that can be overlooked; it’s a fable of sorts, set in a scrupulously neutral pan-European setting. What is unforgiveable is that Langseth’s approach to complex emotional issues is unsubtle at best and untruthful at worst.