Concussion
Weinstein Company, The | Release Date: October 4, 2013 CRITIC SCORE DISTRIBUTION
56
METASCORE
Mixed or average reviews based on 19 Critic Reviews
Positive:
7
Mixed:
10
Negative:
2
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Critic Reviews

Critic scorePublicationBy date
88
Slant MagazineR. Kurt OsenlundOct 2, 2013
The near-imperceptible finesse of Abby's characterization reflects writer-director Stacie Passon's effortless, interesting mix of richness and economy. Read full review
87
Film.comDaniel WalberOct 5, 2013
A bold film anchored by Weigert's impressive lead performance. Read full review
80
EmpireAnna SmithMay 12, 2014
Director Stacie Passion doesn't try to ape Buñuel’s surrealist twist on ennui in Belle Du Jour, instead crafting an enthralling, modern tale in which intimacy is a goal rarely achieved. Read full review
80
Los Angeles TimesSheri LindenOct 3, 2013
It is Weigert's performance that gives the film its mystery and charge. Playing seriously with identity, she draws the viewer ever closer. The way she never reveals everything is electrifying. Read full review
67
Portland OregonianJeff BakerOct 17, 2013
Loses all its energy in the last 30 minutes and ends up back where it started. Maybe that's the point, but if so, it's as subtle as a blow to the head. Read full review
67
The PlaylistGabe ToroOct 5, 2013
This is a frequently titillating film, and Weigert can’t help but add dimensions to that onscreen intimacy and vivid exploration of intimacy, not just seduction but also the shared sensuality of a post-coital chat. Read full review
63
McClatchy-Tribune News ServiceRoger MooreOct 20, 2013
Concussion deserves more of an audience than just the film festival circuit. And it’s not just an introduction to a writer-director with talent, but to a slew of under-employed and superb actresses, and the hunky Tchaikovsky. Read full review
60
Total FilmSimon KinnearDec 14, 2014
The film’s cryptic style obscures insight; just as the condition provides a scapegoat for neglecting Abby’s motives, so it prevents Passon from developing a sustained dramatic network. Satisfaction is fleeting. Read full review
60
CineVueJoe WalshMay 21, 2014
As an audience, you're infected with the languor Abby suffers, realising that as pretty as Concussion looks and with such an interesting premise behind it, beneath the surface there is precious little to really sink your teeth into. Read full review
60
New York Daily NewsJordan HoffmanOct 4, 2013
Concussion is a melancholy affair which keeps its lead character at a distance, making for somewhat frustrating viewing. But the reserved tone also makes this movie worth an afternoon visit. Read full review
60
The New York TimesNicolas RapoldOct 3, 2013
Ms. Passon ultimately seems to skirt some of the larger life questions hinted at along the way. Read full review
60
The DissolveMike D'AngeloOct 1, 2013
More and more, the film’s incisive realism seems at war with its ludicrous plot, until both finally just collapse, exhausted. Read full review
60
Time OutJoshua RothkopfOct 1, 2013
A fine sense of yuppie suffocation—Spin-class listlessness and workaholic disconnection—sets up this indie as a potential suburban satire. Read full review
60
The Hollywood ReporterJohn DeForeSep 8, 2013
Although Weigert is convincing as Abby, Passon's attitude toward the character is hazy. Read full review
50
Washington PostMichael O'SullivanNov 14, 2013
Concussion suffers from a chilly detachment that feels all too clinical, when all we want, like Abby, is connection. Read full review
50
The A.V. ClubIgnatiy VishnevetskyOct 2, 2013
The viewer is presented with a series of caustic, vignette-like scenes which tease bigger themes but end before they can tackle them, as though the film had accidentally started a conversation it didn’t want to have — an impression underscored by the tidy, arbitrary ending. Read full review
40
VarietyRob NelsonSep 8, 2013
Acquitting herself capably in a lead role that strips her bare in more ways than one, Robin Weigert (HBO’s “Deadwood”) proves worthy of a future in features, whereas first-time writer-director Stacie Passon mainly exposes her background in commercials. Read full review
30
Village VoiceMelissa AndersonOct 1, 2013
Its characters are all too easily determined but never specific—or memorable. Read full review
25
San Francisco ChronicleMick LaSalleOct 17, 2013
It's a tepid, quiet and uneventful film, directed almost in slow motion, with no narrative propulsion and with a succession of very similar scenes. The actors speak softly and pause a lot. And in the background is the steady hum of the soundtrack. Read full review
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