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I May Destroy You
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All Critics (13) | Top Critics (2) | Fresh (11) | Rotten (2)
The dynamics are given plenty of time to play out in this delicate, somewhat laboured character drama, which could almost be seen as a hymn to the great British art of not really talking about stuff. May 19, 2016 | Rating: 3/5 | Full Review…
The dynamics are given plenty of time to play out in this delicate, somewhat laboured character drama, which could almost be seen as a hymn to the great British art of not really talking about stuff.
Steve Rose
Simply very moving. May 19, 2016 | Rating: 4/5 | Full Review…
Simply very moving.
Mathilde Dumazet
Ultimately, Departure doesn't do anything that hasn't been done before, and what it does do isn't enough for us to overlook that. March 12, 2017 | Full Review…
Ultimately, Departure doesn't do anything that hasn't been done before, and what it does do isn't enough for us to overlook that.
Ryan Morris
Steggall indulges watery metaphors, but draws emotive work from Stevenson and pinpoints the uncertainty of life's tipping points. January 2, 2017 | Rating: 3/5 | Full Review…
Steggall indulges watery metaphors, but draws emotive work from Stevenson and pinpoints the uncertainty of life's tipping points.
Kevin Harley
This is water colour territory, the palette dominated by blues and greens - beautifully captured by up-and-coming DoP Brian Fawcett - Jools Scott's music subtly affecting and the mood as melancholy as rain running down a window pane. August 7, 2016 | Rating: 3/5 | Full Review…
This is water colour territory, the palette dominated by blues and greens - beautifully captured by up-and-coming DoP Brian Fawcett - Jools Scott's music subtly affecting and the mood as melancholy as rain running down a window pane.
Amber Wilkinson
While theatre director Andrew Steggall's debut feature is beautifully shot, and the landscapes of southern France accentuate the elegiac tone, the drama is overwrought at times. June 2, 2016 | Full Review…
While theatre director Andrew Steggall's debut feature is beautifully shot, and the landscapes of southern France accentuate the elegiac tone, the drama is overwrought at times.
Roe McDermott
A little languorous in places, it's nonetheless an interesting reflection on love, loss and being honest, above all with yourself. It also looks lovely thanks to DoP Brian Fawcett. May 23, 2016 | Rating: 3/5 | Full Review…
A little languorous in places, it's nonetheless an interesting reflection on love, loss and being honest, above all with yourself. It also looks lovely thanks to DoP Brian Fawcett.
Aine O'Connor
Delicately handled and beautifully filmed Departure also boasts two deeply felt performances with Juliet Stevenson making the most of an all-too-rare leading role. May 22, 2016 | Rating: 4/5 | Full Review…
Delicately handled and beautifully filmed Departure also boasts two deeply felt performances with Juliet Stevenson making the most of an all-too-rare leading role.
Allan Hunter
Finbar Lynch is affectingly spiky as the all-but-absent husband whose presence feels more like a void, but Stevenson steals the show as the woman on the verge of a nervous breakdown. May 22, 2016 | Rating: 3/5 | Full Review…
Finbar Lynch is affectingly spiky as the all-but-absent husband whose presence feels more like a void, but Stevenson steals the show as the woman on the verge of a nervous breakdown.
Mark Kermode
[A] sincere, if overly familiar tale of adolescent self-obsession and sexual confusion. May 19, 2016 | Rating: 3/5 | Full Review…
[A] sincere, if overly familiar tale of adolescent self-obsession and sexual confusion.
David Parkinson
A sensitive, sensual and occasionally amusing portrait of teenaged obsession with a winning turn from Lawther. May 19, 2016 | Rating: 4/5 | Full Review…
A sensitive, sensual and occasionally amusing portrait of teenaged obsession with a winning turn from Lawther.
Anna Smith
Steggall must be commended for avoiding any sense of overt theatricalities, which is quite the achievement given the content of the narrative. May 18, 2016 | Rating: 4/5 | Full Review…
Steggall must be commended for avoiding any sense of overt theatricalities, which is quite the achievement given the content of the narrative.
Stefan Pape
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