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Kyle Smith, New York Post: The drained, exhausted, stifling mood is a frequently punitive experience for the viewer. Read more
Joe Morgenstern, Wall Street Journal: When the stars are aligned-the writing and direction along with the stars in front of the camera-a movie can put the most appalling characters on display and still make them engrossing. Read more
Moira MacDonald, Seattle Times: It's a chilly story, shot with claustrophobic, close-in cameras, right up to its abrupt ending - in which a mother learns, to her horror, something about the kind of pain that isn't easily swept away. Read more
Mike D'Angelo, AV Club: Sporting a blonde dye job and a haughty, impervious manner, Gheorghiu makes Cornelia a consistently compelling figure, at once monstrous and pathetic. Read more
Bill Goodykoontz, Arizona Republic: A Romanian political allegory - in Romanian - might sound like tough sledding, but thanks to a searing performance by Luminita Gheorghiu, "Child's Pose" is anything but. Read more
Peter Keough, Boston Globe: Of all the great monster mothers in cinema history, Cornelia Keneres (Luminita Gheorghiu, who sets the standard that other performances should be judged by this year) ranks high on the list. Read more
J. R. Jones, Chicago Reader: A tour-de-force performance from Gheorghiu carries this 2013 drama along, but Radulescu provides the fine edge, noting how this lioness cloaks her selfish crusade in a plea for humanity. Read more
Peter Rainer, Christian Science Monitor: In the movie world, most national new waves don't last long. An exception is the Romanian renaissance, which has featured first-class movies now for more than a decade. Read more
Deborah Young, Hollywood Reporter: Sure-footed scripting and a stand-out performance by Luminita Gheorghiu freshen a potentially pat subject. Read more
Kenneth Turan, Los Angeles Times: "Child's Pose" sounds like something simple and easy, but don't be fooled. Read more
John Anderson, Newsday: Perversely engrossing thanks to Gheorghiu's performance as the queen of denial. Read more
Richard Brody, New Yorker: Netzer offers a bland simulacrum of documentary reality that lines up precisely with his cliched prejudices. But in the few moments when spontaneous emotion takes over, surprising moments of grace arise. Read more
Ella Taylor, NPR: If Child's Pose fails to live up to its indie-intellectual veneer, it earns its keep through Gheorgiu, whose Cornelia is a triumph of subtle performance over crude conception. Read more
Jordan Hoffman, New York Daily News: The movie creates its own tightening vice grip. Read more
Manohla Dargis, New York Times: A drama with a story as cold, merciless and inevitable as a tomb ... Read more
Michael Sragow, Orange County Register: Writer-director Calin Peter Netzer's thin yet compelling movie is a family drama with elements of political theater and film noir. Read more
Steven Rea, Philadelphia Inquirer: A dark piece of neorealism - and a searing indictment of Eastern Europe's newly moneyed classes ... Read more
David Lewis, San Francisco Chronicle: Netzer crafts not only a chilling story of family dysfunction, but also an illuminating look into the corruption and decay of the Romanian bourgeoisie - without ever overplaying his hand. It all appears so effortless, when in fact it's so skillful. Read more
Dana Stevens, Slate: It's well worth seeing, both for its merciless anatomization of the country's post-Ceausescu social order and for Gheorghiu's stupendous central performance as a mother so monstrous she makes Medea look like a pushover. Read more
Trevor Johnston, Time Out: Plays its thematic cards far too early, but it's sustained by Gheorghiu's compelling central turn as the endlessly self-deluding grande dame. Read more
Keith Uhlich, Time Out: It's wonderful to see [Gheorghiu] in a leading role, especially one as meaty as this. Read more
Michael Atkinson, Village Voice: Netzer keeps faith with his countrymen's gritty aesthetic, which remains pure in the spirit of New Wave neo-realism; somehow, international success has not made the Romanians crave CGI or encouraged them to pander to hipness. Read more
Ann Hornaday, Washington Post: A fascinating, troubling and finally controversial portrait of maternal anxiety at its most smotheringly neurotic. Read more