Bleak Street
Leisure Time Features | Release Date: January 20, 2016 CRITIC SCORE DISTRIBUTION
62
METASCORE
Generally favorable reviews based on 9 Critic Reviews
Positive:
3
Mixed:
6
Negative:
0
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Critic Reviews

Critic scorePublicationBy date
88
RogerEbert.comGlenn KennyJan 20, 2016
Ripstein, who began his long career working with the maestro Luis Buñuel, has his one-time mentor’s post-idealistic anger but doesn’t adopt an insouciantly ironic mode to filter it through; his perspective is determined but never detached. Read full review
88
Slant MagazineDiego SemereneJan 18, 2016
Bleakness, Arturo Ripstein's film implies, demands different kinds of labor from a man than from a woman. Read full review
80
Village VoiceLara ZarumJan 19, 2016
Like his onetime mentor Luis Buñuel, Ripstein favors sparse, naturalistic settings populated by pathetic-yet-zany characters and eschews anything that might be considered traditionally beautiful. Instead, he unearths beauty in the mire of his characters' social conditions and in their dedication to each other. Read full review
60
Los Angeles TimesNoel MurrayMar 14, 2016
The grubby melodrama should appeal to adventurous moviegoers — and to the director’s small-but-fervent cult — but even that crowd should brace themselves for something slow-paced and opaque. Read full review
60
The New York TimesA.O. ScottJan 20, 2016
The film’s enigmas are atmospheric, and somewhat superficial. It solicits the audience’s morbid curiosity rather than gripping our emotions or haunting our dreams. It’s a creepy and beguiling oddity, willfully weird but, at the same time, not quite weird enough. Read full review
60
VarietyPeter DebrugeJan 18, 2016
Certain images...leave lasting impressions, though Garciadiego’s script doesn’t seem to do enough with the story, other than laying it out in linear order for Ripstein to film. Read full review
58
The A.V. ClubMike D'AngeloJan 20, 2016
Neither Ripstein nor his wife and regular screenwriter, Paz Alicia Garciadiego, succeed in unearthing (or inventing) anything of more than sensational interest from this tragedy. Read full review
50
New York PostFarran Smith NehmeJan 20, 2016
The crime and aftermath (based on a real story) are the best parts by far, but these come well after many overextended scenes of selfish, squalid people treating one another like dirt. Read full review
50
The Hollywood ReporterBoyd van HoeijJan 18, 2016
Truth is indeed sometimes stranger than fiction but Ripstein struggles here to turn his odd collection of two-dimensional characters into real people. What does impress is the gorgeously crisp black-and-white cinematography, which deserves to be seen on the big screen. Read full review
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