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A young woman witnesses a bus accident, and is caught up in the aftermath, where the question of whether or not it was intentional affects many people's lives.

Actors: Rosemarie DeWitt , John Gallagher Jr. , Olivia Thirlby , Kieran Culkin , Jean Reno , Jeannie Berlin , Matthew Broderick , Mark Ruffalo , Matt Damon , Anna Paquin , J. Smith-Cameron
Directors: Kenneth Lonergan
Country: USA
Release: 2012-06-01
More Info:
  • Ann Hornaday

    Ambitious, affecting, unwieldy and haunting, it's an eccentric, densely atmospheric, morally hyper-aware masterpiece that refuses to follow the strictures of conventional cinematic structure, instead leading the audience on a circuitous journey down the myriad rabbit holes that comprise modern-day Manhattan.

    Washington Post Full Review
  • Keith Uhlich

    And though not all of Lonergan's conceits work on a scene-by-scene basis (an upper-crust womanizer played by Jean Reno skews a bit too close to caricature), the film has a cumulative power-solidified by a devastating opera-house finale-that's staggering. This is frayed-edges filmmaking at its finest.

    Time Out New York Full Review
  • Peter Travers

    Margaret, for all its flaws, is a film of rare beauty and shocking gravity.

    Rolling Stone Full Review
  • Wesley Morris

    Who knows what movie Lonergan was searching for in all that footage? But what emerges from the tinkering and legal skirmishes is an occasional marvel, a kind of everyday highbrow social X-ray, Paul Mazursky by way of Krzysztof Kieslowski.

    Boston Globe Full Review
  • Eric Kohn

    Artistically, however, the movie delivers on a surprisingly effective scale, no matter how Lonergan sees it. Alternately perceptive, subversive, tragic and profound.

    indieWIRE Full Review
  • Mark Olsen

    A fascinating, deeply felt film of wild, untamed emotions and probing insights.

    Boxoffice Magazine Full Review
  • Elizabeth Weitzman

    Margaret - titled after a poem - reflects its adolescent subject with striking accuracy. It can be frustrating and self-important, clumsy and naive. But it's also passionate, curious and filled with insight, so unafraid in its ambitions that even the flaws are interesting. Every bold vision requires respect; a few deserve celebration. This is one of them, imperfections and all.

    New York Daily News Full Review
  • Alison Willmore

    It's not a film that's easy to love, but like a song you at first can't stand but then end up humming all day, it works its way past your defenses and curls in close.

    Movieline Full Review
  • Mick LaSalle

    A half hour before the finish, Margaret loses altitude and starts looking for a place, any place, to land. Instead it crashes, in slow motion. But up until then, Margaret is committed and unusual.

    San Francisco Chronicle Full Review
  • Carrie Rickey

    Besides Paquin, who delivers a once-in-a-lifetime performance as the maddeningly inconsistent Lisa, also wrenchingly fine are Jeannie Berlin as the best friend of the deceased and J. Smith-Cameron as Lisa's actress mother.

    Philadelphia Inquirer Full Review
  • J.R. Jones

    Even in its truncated state, this is pretty gripping stuff; just think of it as an epic commercial for the director's cut DVD.

    Chicago Reader Full Review
  • Mary Pols

    Lonergan didn't bite off more than he could chew with Margaret - this is his personal moral gymnasium - but he did bite off more than others might want to chew.

    Time Full Review
  • Karina Longworth

    It's less successful as a human drama than as a near-Brechtian exercise in what human drama looks and sounds like - a distanced but often car-crash compelling portrait of a teen as an unfinished being.

    Village Voice Full Review
  • Owen Gleiberman

    Lonergan's dialogue can sweep you up in a whoosh of personality and ideas, but it's hard to see what, apart from ego, convinced him that this story was so epic.

    Entertainment Weekly Full Review
  • Kyle Smith

    For a 90-minute movie, Margaret has a thin story. So it's unfortunate that it runs 2 1/2 hours.

    New York Post Full Review
  • Sheri Linden

    Fine performances and bristling language compel in this overlong, often off-putting but well-observed New York story.

    The Hollywood Reporter Full Review
  • Liam Lacey

    Kenneth Lonergan's new film, Margaret, finally released six years after it was shot, now seems destined to become part of film history as one of the more stunning examples of a filmmaker's sophomore slump.

    The Globe and Mail (Toronto) Full Review
  • Bill Goodykoontz

    What an interesting failure Margaret is.

    Arizona Republic Full Review
  • Peter Rainer

    I wish I could say it's a resurrected classic but, alas, it's mostly a mess – a 2-1/2-hour mess no less.

    Christian Science Monitor Full Review
  • A.O. Scott

    To watch the long, painful last hour of this movie is to watch all of his good ideas and smart impulses collapse into a heap of half-written, awkwardly acted, increasingly frantic scenes.

    The New York Times Full Review
  • Betsy Sharkey

    Lonergan has created a forceful yet extremely fitful film that teases with moments of brilliance only to frustrate in the end. Margaret is an unrealized dream, one you wish he'd gotten as right as his 2000 debut, "You Can Count on Me."

    Los Angeles Times Full Review
  • Justin Chang

    This unwieldy drama of conscience in the wake of tragedy is hyperarticulate but rarely eloquent, full of wrenchingly acted scenes that lack credible motivation or devolve into shrill hectoring.

    Variety Full Review
  • Rex Reed

    A 2½-hour art film that is something of a well-intentioned mess.

    New York Observer Full Review
  • Mike Scott

    As well-shot and well-acted as it is, one can't help feeling there's a good movie in there somewhere. Unfortunately, it's buried beneath such an avalanche of extraneousness and artistic posing.

    New Orleans Times-Picayune Full Review
  • Marjorie Baumgarten

    Margaret definitely has many elements for a successful drama. It's unfortunate that no one was able to shape them into a functional movie.

    Austin Chronicle Full Review
  • David Edelstein

    This is the first bad movie that has ever made me call for a sequel - to get it all right.

    New York Magazine (Vulture) Full Review
  • Andrew O'Hehir

    Rarely has a film with such a great cast and so many moments of terrific writing and such high dramatic goals been so messy and disorganized and fundamentally bad. Full Review
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