Critic Reviews



Based on 25 critic reviews provided by Metacritic.com
With American independent filmmaking all too often a ready punching bag in today's cinéaste culture, this frequently dazzling, eccentric portrait of mutually assured destruction is that most delirious of combos: charmingly funny and emotionally terrifying.
Here's a movie that starts in your face and, amazingly, keeps coming at you. That's a good thing.
Evan Glodell's debut has the sweetness of a lullaby reverie and the blazing ferocity of a monster-car nightmare, a first-comes-elation, then-comes-madness structure that resembles that of "Blue Valentine," another tale focused on the commencement, and then collapse, of an affair.
Bellflower is stylishly watchable - even when it's preposterous.
A daring feature debut by Evan Glodell, Bellflower looks like it was shot with the digital equivalent of a Brownie box camera, and generates an almost palpable aura of anxiety.
The protagonists and their idle dreams of a fiery wasteland may well be nihilistic. But the movie - with its stunning cinematography and lingering aftertaste of old-school heartbreak - most assuredly is not.
A scrappy indie movie that comes out of nowhere and blows up stuff real good. It also possibly represents the debut of a one-of-a-kind filmmaker, a natural driven by wild energy, like Tarantino.
Philadelphia Inquirer
Bellflower has plenty of rough edges and it suffers from a bad case of hipper-than-thou-ness. But it's a triumph.
A rewardingly twisted hybrid of low-fi mumblecore and stylized thriller.
Brace yourself for an explosively brutal finale.
It's messy and leaves an unusual taste on the palate, but Bellflower has a strange, ugly-sweet appeal that couldn't have been produced without the schlocky entertainments that have channeled the imaginations of gifted but impressionable kids for decades.
Like its antiheroes, this slacker tragedy has moments of calm and originality that are sadly obliterated by a tendency toward the extreme. Still, in a kind of reverse apocalypse, the movie's toughest stretch is its first two-thirds, a navel-gazing, semi-romantic nothing-a-thon that falls away in time for the movie to emerge from the ashes.

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