All Critics (96) | Top Critics (34) | Fresh (87) | Rotten (9)
This is an odd film (creepier than it knows), and even if you feel the atmospheric company of Dunham-ism, with a little of Whit Stillman, Henry Jaglom, and Woody Allen, the core influence on Noah Baumbach's film is fifty years older or more.
Baumbach usually builds his films around difficult protagonists, but Frances is entirely endearing, at once silly and deep, hopeless and promising.
The dialogue and editing are zippy and generally charming, combining with the tart observations of 20-something culture to create a nice frisson.
A black-and-white salute to the French New Wave (the score is borrowed from Georges Delerue, composer of many a Truffaut and Godard film) that manages to be very much of this moment ...
The movie's a love letter to an actress and her character, but by the end you may feel like an intervention is more in order.
The obvious love of New York City echoes Woody Allen at his best. But "Frances Ha" is very much its own film, a story of life and love and messy rooms.
Gerwig's deft screwball timing turns every disaster into a grace note. This may be a comedy of awkwardness, but rather than curl, your toes will tap.
A refreshing amount of buoyancy to dance and charm its way through Quarter-Life Crisis territory. One of the best performances of Greta Gerwig's career to date
Frances Ha is a sympathetic but not uncritical depiction of a girl's gradual evolution into a woman; one that never condescends by forcing her to abandon all her quirks and impish qualities in the final act... An absolute delight, this is.
Indie darling Gerwig has a great deal to do with the picture's success: she's disarmingly likable...
There's a level of audacity beneath the lightweight whimsy in this unassuming low-budget comedy.
"Frances Ha makes a star out of Gerwig, and she's the kind of star we need: a goofy one we can feel tender about but never underestimate."
'I can't account for my own bruises,' Frances says, as if she were a clumsy kid with an adult's vocabulary. Does the remark refer to more than the abrasions on her skin?
A celebration of cinema, New York City and the distinctive charms of actress Greta Gerwig, Frances Ha was co-written by Gerwig and its director, Noah Baumbach, and it's the best film either has made.
There's a thin line between comedy and tragedy, and Greta Gerwig walks it remarkably well.
There's depth and realism in the way Frances Ha shows aspiration versus reality.
Gerwig, beyond a doubt, is immeasurably appealing, and Frances Ha is tailor-made to showcase her gifts better than anything she's ever been in.
...if you hold your nose and simply wallow through the stench of self-aggrandizement, you'll be rewarded with an experience that will actually tug on your emotions.
Frances Ha provides a sharp, fleet, and very funny look at female friendship and the acceptance of adult responsibilities.
This is very minimalist storytelling much of which feels improvised in front of the camera. The film is more of a character situation than a character story.
Frances Ha is endearing, kind and, in many ways, Noah Baumbach's best movie to date.
It's a film that bears all of the zingy dialogue and sharp characterizations of Baumbach's other films ("The Squid and the Whale," "Greenberg") but with more of a generosity of spirit towards its characters.
Funny and touching, Frances Ha may very well be the most eloquent take yet on a generation in flux.
The light Frances Ha provides skittish moments of heartbreak and confusion on the humorous path to adulthood, but it sends a comforting message that our fate may use the same language as our dreams even if it doesn't tell the same story.
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