| Apple TV+ | Release Date: October 28, 2022 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
28
Mixed:
10
Negative:
1
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Critic Reviews
The Observer (UK)Nov 8, 2022
Lawrence is phenomenal, giving the kind of wary, reined-in performance that made such a compelling impression in her breakthrough film, Winter’s Bone. And the always excellent Henry gradually strips back a character who at first seems wholly at ease with life to reveal layers of suppressed guilt and pain.
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Causeway is at its most successful when the film is patient, giving the space to have its characters ruminate over how their past experiences don’t have to define their futures. It’s the kind of film that only succeeds with incredible performances to back it up, and Neugebauer achieves that with Lawrence and Henry guiding her film in such a touching, beautiful way.
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In its rambling pace, Causeway at times is reminiscent of Winter’s Bone, the 2010 movie that introduced Lawrence to film fans, and may still be her finest performance. In Causeway, the doctors aren’t the only ones wondering what’s going on inside her head. The audience does too, and she reveals it as slowly as she needs to.
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ColliderSep 14, 2022
The PlaylistSep 14, 2022
The double character piece excels most when Neugebauer does her thing and facilitates her actors. Together, they build a pair of utterly real people, nonetheless confined to a dramatic universe more prone to contrivance. But the pleasures of the former generally outweigh the irksomeness of the latter, with Lawrence and costar Brian Tyree Henry joined in as a super-generator of onscreen magnetism.
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IndieWireSep 14, 2022
Causeway is both thin and heavy-handed, its plot overly diagramed and its characters inadequately fleshed out. The burden of making it credible falls disproportionately on Henry and Lawrence, superb actors who do what they can to bring the script’s static and fuzzy ideas about pain, alienation and the need for connection to something that almost resembles life.
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The experience of seeing Causeway isn’t what you’d imagine while trying to decide whether to watch a 92-minute movie about a veteran’s slow recovery. It feels more like moving in with her — invisible — for weeks, and watching as she makes a sandwich or stares into space. That isn’t drama. That’s practically audience abuse.
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