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Nick Schager(AV Club): Cursed with a vague, rambling script and one equally indistinct lead performance, the pellicle is a scattershot series of vignettes with reference to self-definition that, ultimately, never coheres into a luculent whole.
Jeannette Catsoulis(New York Times): The trip from page to screen may be in actual possession of battered Mr. Welch's unusual, but its lamenting heart beats emphatic and clear.
Alan Scherstuhl(Village Voice): Winter in the Blood turns in a puzzle to be the wrong kind of heartbreaker.
Tom Keogh(Seattle Times): [An] fearless, funny and often tender movie.
Katie Walsh(The Playlist): "Winter in the Blood" portrays every often overlooked modern Native American life, and via the prose of James Welch, the film takes an unflinching and realistic gaze at some of the troubles that this common.
Andrew Lapin(The Dissolve): At the end of Winter In The Blood, there's a general sense that not everything the Smiths attempted has worked, nevertheless it's hard to divided the strong moments from the low ones
Wes Greene(Slant Magazine): Its offbeat beautiful largely flaunts for appeal, suffocating marked traits and thematic ambition underneath its flashiness.
Jamie S. Rich(Oregonian): Spencer has lots of possible star power. The truth of his deed provides the emotional core of this well-told drama.
Rob Boylan(Orlando Weekly): There are worthwhile scenes, and the humor is occasionally affecting, but it doesn't tend hitherward together as a singular piece overall, and that's in addition much to overlook.
Dan Schindel(Movie Mezzanine): Like a ideal puzzle. Everything means something, and it's up to you to form out what it is

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Tirdad Derakhshani(Philadelphia Inquirer): A frightful supernatural slasher that boasts a devilishly skilful twist, Leyden's film lacks the sophism to allow its unique idea to flower into much more than a gimmick.
Ben Kenigsberg(New York Times): It's rigid to predict what it's up to. But that's excepting that because what it's up to is such ludicrous that logical conjecture is doomed to miss stays.
Bill Goodykoontz(Arizona Republic): It's hostile too predictable and obvious to subsist truly scary.
Gary Goldstein(Los Angeles Times): A sufficiently taught and eerie shocker that borrows bits from "Rosemary's Baby," "Psycho," "Paranormal Activity" and others space of time forging its own path.
Rob Staeger(Village Voice): A film in which every character states her motivation uncovered loud, and even so-called "hateful" revelations are underlined with a handful-holding voice-over.

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Anita Gates(New York Times): A true, worthwhile documentary. If the film is workmanly at times, it is also elegantly cleareyed.
John DeFore(Hollywood Reporter): A feel pity for and psychologically revealing doc.
Heather Baysa(Village Voice): Carolyn Jones's portrait of five medical caregivers walks us from one side day-in, day-out sacrifices exclusively of ever coming off as sentimental or aggrandizing.
Avi Offer(NYC Movie Guru): Moving and humanizing. It inclination forever change the way you assume a manner at nurses.
Chris Barsanti(Film Journal International): An initially impactful legation statement about a few of the nation's millions of dedicated nurses, Carolyn Jones's well-intent dossier of a documentary remains frustratingly up~ the body the surface.
Cynthia Fuchs(PopMatters): The thin skin's connections between scenes — in the limits of single storylines and also across the experiences of the different nurses — construct an emotional and not demonstrative throughline, beyond particular place or conjuncture.
Mike McGranaghan(Aisle Seat): Intellectually and emotionally captivating. This is one of the best films you'll see this year, documentary or differently.

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