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Reviews provided by RottenTomatoes
Moira MacDonald, Seattle Times: Though it's paced as a thriller, the film ultimately emerges as a haunting exploration of how grief can weigh on us, and the depths to which it can drive us. Read more
Michael Phillips, Chicago Tribune: It's a fully realized portrait of a city, Glasgow, a portrait of a smart, watchful woman who works as a security monitor and who has endured great loss; and a portrait of the act and psychological implications of surveillance. Read more
Jonathan Rosenbaum, Chicago Reader: Despite the thick Scottish accents, filmmaker Andrea Arnold kept me intrigued, but beyond a certain point the movie's ambiguity fades into indifference. Read more
Steve Murray, Atlanta Journal-Constitution: A must for movie lovers who want to see how so much drama, mystery and emotion can be created from so little. Read more
Noel Murray, AV Club: Red Road is a promising debut by a talented director, but with luck, next time, Arnold will be in a real position of authority, and not just manning someone else's watchtower. Read more
Ty Burr, Boston Globe: [Director Arnold] drops the voyeurism theme almost entirely, a bait-and-switch that doesn't cripple Red Road so much as snip off its richest and eeriest thread. Read more
Kevin Thomas, Los Angeles Times: A spellbinding, intelligent thriller that takes its time to get where it's going but is well worth the trip. Read more
Bruce Westbrook, Houston Chronicle: For a voyeuristic medium, this tale of a voyeur does a poor job of prying into its own protagonist's life. Read more
John Monaghan, Detroit Free Press: Unfortunately, its superb performances and assured camerawork are overwhelmed by dubious psychology and a cliched climax. Read more
Ella Taylor, L.A. Weekly: The measure of Red Road is that it leaves us hungry for what comes next. Read more
Jan Stuart, Newsday: A sexy and cunningly disorienting thriller that provokes the viewer into a state of anxious participation from first to last frame. Read more
Stephen Whitty, Newark Star-Ledger: It's impossible to predict when the next two-thirds of this Advance Party Concept triptych are going to look like. But with characters like these -- and actors like these -- it's easy to be optimistic about the stories they still have to tell. Read more
Elizabeth Weitzman, New York Daily News: If you think about it too closely, Andrea Arnold's jarring feature debut doesn't quite hold up. But chances are you'll be so focused on her lead, Kate Dickie, that you won't even notice. Read more
V.A. Musetto, New York Post: Dickie is intense in her screen debut, which requires her to be in nearly every scene. The supporting cast is strong, and Robbie Ryan's handheld camera provides gritty ambiance for this taut thriller. Read more
Andrew O'Hehir, Salon.com: It's dynamite, the kind of sexy, paranoid, creepily atmospheric picture that invades all your senses at once. Read more
Walter V. Addiego, San Francisco Chronicle: Though not flawless, this is a compelling study, in Dogme style, of a wounded young woman who spends her working life spying on others. Read more
Globe and Mail: That devilish idea machine Lars von Trier reached into his bag of tricks and came up with the Advance Party project. Read more
Peter Howell, Toronto Star: Like the Peeping Tom-paranoia of similar recent films Disturbia and Civic Duty, this finely crafted debut feature by Scottish writer/director Andrea Arnold packs a wallop. Read more
David Fear, Time Out: What this debut feature delivers in terms of storytelling and style, however, isn't just the promise of potential; it's the sign of someone hitting her stride straight out of the gate. Read more
Leslie Felperin, Variety: Sensual, dark in every sense, but a touch derivative, Red Road reps an impressive feature debut for Brit writer-helmer Andrea Arnold. Read more
Desson Thomson, Washington Post: With assured performers, handheld cameras and natural lighting -- the ABCs of the Dogme method -- [Andrea] Arnold has given this ambitious undertaking a provocative start. Read more