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Reviews provided by RottenTomatoes
Rene Rodriguez, Miami Herald: There's nothing about Bug you'd call pleasant, but this dark, intense picture is the best and most vibrant movie Friedkin has directed in decades. Read more
Michael Wilmington, Chicago Tribune: A nerve-rending, extremely unpleasant experience but also a compelling one. Read more
David Edelstein, New York Magazine/Vulture: Bug, directed by William Friedkin from Tracy Letts's play, has the feverish compression of live theater and the moody expansiveness of film. The mix is insanely powerful. Read more
J. R. Jones, Chicago Reader: Steppenwolf ensemble member Tracy Letts adapted his play into this fearsome horror movie, directed with single-minded claustrophobia by William Friedkin (The Exorcist). Read more
Ted Fry, Seattle Times: Bug may not be a big deal, but it is a sublime and remarkably disturbing small deal that pays and demands close attention. Read more
Hap Erstein, Atlanta Journal-Constitution: The film has a few horrific jolts and plenty of violence, but at its core it is simply a mind-twisting head trip. Read more
Nathan Shafer, AV Club: As in The Exorcist, Friedkin establishes a tone of hard-edged, almost documentary-style realism before ratcheting up the horror to nearly unbearable levels. Read more
Bill Muller, Arizona Republic: Although Bug is inconsistent and grows too violent by the end, there's one thing it's not: the same old stuff. Read more
Wesley Morris, Boston Globe: It's an oddball romantic drama that descends into comic horror and delivers Ashley Judd at full neurotic tilt (a new angle for her). Read more
Carina Chocano, Los Angeles Times: Bug's relentless unpleasantness, which [director] Friedkin bogs us down in instead of crystallizing it into what might have been a stylish head trip, can get to be a chore. Read more
Amy Biancolli, Houston Chronicle: In all ways, Bug is a head-scratcher. Read more
Peter Rainer, Christian Science Monitor: I doubt the film will strike much of a chord with anybody, though, except perhaps with deranged entomologists and the people who love them. Friedkin does an excellent job of keeping the action inside that ultra-dingy motel room cinematic, but to what end? Read more
Michael Booth, Denver Post: You leave feeling alive, if severely disturbed, rather than deadened by the unthinking horrors of the latest slasher films. Read more
Detroit News: Probably a very good play, but it doesn't make the transition to the big screen. Read more
Lisa Schwarzbaum, Entertainment Weekly: Bug, written by Tracy Letts, was originally an intimate, unsettling play in which the confines of the stage could reflect the emotional and psychological claustrophobia of the subject matter. Read more
Terry Lawson, Detroit Free Press: It is certain to have an impact on anyone who experiences it, even if it's not the movie they expected. It does not just get under your skin; it bores its way into your head. Read more
Ella Taylor, L.A. Weekly: Plays like lousy dinner theater doing its darnedest to give American paranoia a bad name. Read more
John Anderson, Newsday: A fascinating exercise in paranoia and terror that sticks to the brain like intellectual flypaper: Even viewers who decide they don't like it will find the film as hard to shake off as the insects that plague our two principal characters. Read more
Lisa Rose, Newark Star-Ledger: Bug is a twisted, visceral film with an uncompromising sense of nihilism. Read more
Jack Mathews, New York Daily News: Bug, a tale of love, desperation and conspiratorial madness, comes off on the big screen as a wacky psychological snow job. Read more
Kyle Smith, New York Post: Bug buzzes around in random menace for an hour until its third act, when -- zzzzzt! -- it flies straight into the zapper. Read more
Roger Moore, Orlando Sentinel: Read more
Tirdad Derakhshani, Philadelphia Inquirer: After nearly three decades of misfires, major and minor, William Friedkin, the creator of The French Connection, The Exorcist and Sorcerer, is back in true form with Bug. Read more
James Berardinelli, ReelViews: After a well-constructed first act, the story becomes a little tiresome and repetitive and the characters, who are will defined to begin with, stray ever closer to the edge of overwrought one-dimensionality. Read more
Roger Ebert, Chicago Sun-Times: William Friedkin's latest film, Bug, begins as an ominous rumble of unease, and builds to a shriek. Read more
Stephanie Zacharek, Salon.com: Supposed to be a serious psychological thriller, an unsettling little number designed to creep us out and make us think. But it's really just junk. Read more
Mick LaSalle, San Francisco Chronicle: Bug goes exactly where it needs to go -- to a place most filmmakers don't dare go -- and gets there brilliantly. Read more
Dana Stevens, Slate: This is a movie about the dangers of letting love rob you of your reason and cut you off from the world, and, bugs in the bloodstream or not, who hasn't been there? Read more
Kamal Al-Solaylee, Globe and Mail: It's one helluva movie that makes Ashley Judd look ugly and demented, while turning Harry Connick Jr. into the most frightening screen thug since Ben Kingsley in Sexy Beast. Read more
Susan Walker, Toronto Star: The cheesy soundtrack and the lacklustre acting undermine [director Friedkin's] efforts at turning an intelligent play into a scary movie. Read more
Richard Schickel, TIME Magazine: There is a conviction here that (a) transcends any attempt to categorize the film generically and (b) challenges the lax, we're-just-kidding-around spirit of most American movies (see, or rather don't see Grindhouse, for example). Read more
Claudia Puig, USA Today: Bug won't get under your skin as much as it will assault you with its ghastly claustrophobic drama and over-the-top performances. Read more
Todd McCarthy, Variety: William Friedkin's overwrought screen version of Tracy Letts' play assaults the viewer with aggressive thesping and over-the-top notions of shocking incident, all to intensely alienating effect. Read more
Rob Nelson, Village Voice: Bug is genuinely freaky-deaky, not to mention more inventively unsettling than anything [director] Friedkin has mustered in the quarter-century since twisting little Linda Blair into a satanic spewer of pea soup and F-bombs. Read more
Desson Thomson, Washington Post: Ashley Judd and Michael Shannon (who reprises his stage persona) never allow us to categorize the main characters as one-dimensional nut jobs but two emotionally fractured souls who retreat into paranoid delusion. Read more