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Albatross
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DIRECTORS OF "Albatross"
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CREATORS OF "Albatross"
Albatross
CRITICS OF "Albatross"
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Slant Magazine
Resource

January 08, 2012

Yes, the title of Albatross is a metaphor. In fact, the eponymous bird shows up not as a figurative chokehold around the neck of simply one character, but at least three.
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NPR
Resource

January 12, 2012

The lack of subtlety makes the story's familiar beats only more obvious.
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BrianOrndorf.com
Resource

February 29, 2012

There are dimensions to Emelia that are welcome, but often rudely condensed by director Niall McCormick, who burns through the picture in 85 minutes, never lingering long enough on domestic tension or behavioral awareness.
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Shadows on the Wall
Resource

October 20, 2011

Beautifully filmed and acted, but lacking a central perspective.
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The Skinny
Resource

January 26, 2012

A serving of teenage angst with a side order of syrup which, like the films of John Hughes, treats both characters and audience with respect and affection.
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New York Times

January 12, 2012

Charmingly low-key, the British coming-of-age drama "Albatross" offsets slack plotting with creative casting and sensitive performances.
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TIME Magazine
Resource

January 12, 2012

The performances are compelling (although Jones is underused) but the thin narrative is less instructive of the strange way female friendships operate than of the way stories get recycled.
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Cinemalogue.com
Resource

January 20, 2012

Newcomer Brown Findlay brings some laughs and energy to an otherwise predictable tale of family strife that is modestly compelling but ultimately forgettable.
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Empire Magazine
Resource

October 18, 2011

A startling performace from Findlay doesn't quite make up for a disappointing third act.
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Time Out
Resource

January 10, 2012

Innocence is lost -- as well as 90 minutes of your precious, precious time.
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Birmingham Post

October 19, 2011

German star Koch (The Lives of Others) has a Burton-lite intensity, with Julia Ormond well cast as his wife and Beth's mother.
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Village Voice
Resource

January 10, 2012

Albatross shifts from indie fairy tale to farce, only to accept its fate as a coming-of-age melodrama.
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