| A24 | Release Date: May 3, 2024 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
43
Mixed:
5
Negative:
0
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Critic Reviews
Jan 20, 2024
The film is among the most profound—and, yes, important—pieces of trans fiction that I’ve yet seen, vividly staged with bold, declarative style while remaining beguilingly elusive. It is open for all kinds of assessment, containing multitudes of meaning. I Saw the TV Glow is a great film to talk about, to pick apart with a friend or fellow traveler over dinner afterwards, to study and reflect on.
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May 16, 2024
It is at once a singular piece of pop-cult art, delivered with the brash confidence of a filmmaker who has either been told “no” too many times or not enough, and a film that could not exist without the contributions of Cronenberg and a dozen of his contemporaries and acolytes (including Donnie Darko’s Richard Kelly), their midnight visions co-opted by Schoenbrun into one slickly nostalgic neon-lit nightmare.
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May 10, 2024
Jane Schoenbrun's off-handedly revolutionary mindbender about two teens bonding over a sci-fi TV series isn't always easy to get your head and heart around. But hold on for its incendiary daring, its willingness to go for broke. Schoenbrun is a trans game-changer. They make us believe.
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May 19, 2024
While pop culture will never replace our need for genuine connection—for a relationship that both gives and receives—a movie like this, with a welcoming weirdness that communicates in a subliminal way, offers sustenance to anyone who has felt misunderstood, ostracized, and unsure of themselves. Even amidst the movie’s horror, there’s a glow here that feels warm.
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May 20, 2024
I Saw the TV Glow demands the audience's attention. I can’t say that, even with all synapses firing, I was able to catch every (maybe none) of the nuances Schoenbrun was tossing out. But it’s at times like that when I find it best to relax and experience the film rather than struggle to make sense of it.
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The Observer (UK)Jul 28, 2024
To call it horror seems reductive. With its shapeshifting disquiet, I Saw the TV Glow is too languidly weird, too unmoored from genre conventions to be neatly categorised. But there’s not a frame in Jane Schoenbrun’s suffocating second feature that isn’t drenched in dread and unease.
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Jul 11, 2024
Evading easy categorisation, writer/director Jane Schoenbrun’s horror-hued follow-up to We’re All Going to the World’s Fair (2021) can be read as a transgender allegory, one that compellingly explores the idea of being born into one existence, feeling you should be living a different one, but not knowing how to cross over to this other life where it seems you would be happier.
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May 15, 2024
Schoenbrun’s direction is masterful, both in terms of what they get out of the actors (Smith and Lundy-Paine give committed performances) and in their visual language. The look of the film is both haunting and inviting — not unlike that of a nightmare, or a horror film. “I Saw the TV Glow” has elements of both, and more.
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SlashfilmApr 9, 2024
I Saw the TV Glow is both a musing on the way entertainment (and screens in particular) will step in to fill the gaps left by poor emotional regulation and support from those who are supposed to help children grow and thrive to become capable, fully-realized adults and how exclusively escaping into worlds of fiction rather than fighting the very real monsters of the week in your own mind will only hold you back.
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The GuardianJan 20, 2024
I Saw the TV Glow marks a remarkable progression for Schoenbrun as both writer and director, a more substantive, if still challenging, narrative married with an incredible, expanded ability to fully immerse us in the visuals they have created. It’s made with such transportive precision that I can still feel it as I write.
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May 6, 2024
Jan 19, 2024
This character-centered setup is where I Saw the TV Glow is most affecting, grounded by the tense, tacit bond between two highly guarded people — and given an electric jolt by Lundy-Paine’s fragile, volatile performance as someone certain there’s no accepting place for them outside the rectangular confines of the TV set. But
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May 3, 2024
The film invents a new emotion: passionate ambivalence. Schoenbrun’s argument might be that this is exactly the response they’re after. They’ve accomplished it, but at the expense of engagement, resulting in a collection of leaden scenes that might make the audience want to claw out of its own skin.
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