For Ellen 2012

A.O. Scott, New York Times: It teeters on the line that separates drama from anecdote. Read more

Jeff Shannon, Seattle Times: Its anemic plot is almost nonexistent, and there's not enough substance to support Kim's languid style, resulting in a too-relaxed, 93-minute feature ... Read more

Alison Willmore, AV Club: It's built around a strong turn by Dano, but one that feels studied and sometimes at odds with the naturalism the film aims for with its grubby settings, loose camerawork, and tendency toward inquisitive close-ups. Read more

Ty Burr, Boston Globe: "For Ellen" tries one's patience, but what works, works for keeps. Read more

J. R. Jones, Chicago Reader: His quiet indie drama distinguishes itself most when writer-director So Yong Kim gets the rocker alone with his daughter for a brief visit that will probably be their last. Read more

Owen Gleiberman, Entertainment Weekly: Dano does a more insolent version of his woe-is-me moroseness, but the drama is so minimalist that it's hard to glimpse the man behind the woe. Read more

Justin Lowe, Hollywood Reporter: The scant character development is not enhanced by the film's directorial style... Read more

Kenneth Turan, Los Angeles Times: "For Ellen" is a small but exquisite film, beautifully observed and impeccably executed. Read more

Mark Jenkins, NPR: By concentrating so intently on the psychically unattached Joby, Kim hinders dramatic and character development. Read more

Joe Neumaier, New York Daily News: Dano's moments of strangled silence are awkwardly moving. Read more

Kyle Smith, New York Post: An empty angst-athon that proves 90 minutes of close-ups of Paul Dano looking wounded can be even less interesting than it sounds. Read more

Roger Ebert, Chicago Sun-Times: This performance, unlike anything Paul Dano has ever done, must have required some courage. Read more

Trevor Johnston, Time Out: It's uncomfortably funny, achingly true - and the work of an absolutely genuine artist. Read more

Keith Uhlich, Time Out: Kim mostly avoids indie-cliche pitfalls for the first hour, and her use of wintry landscapes as counterpoint to Jody's crises of conscience is practically Bergman level. Read more

Robert Koehler, Variety: So Yong Kim takes what could have been routine story elements and transforms them into something deeply sad and touching. Read more

Michael Atkinson, Village Voice: The film does find a patient balance between its obvious sincerity and the scenario's lack of depth and surprise. Read more