One Hundred Mornings

Variety by

Though never intended to match "The Road" for gruesome veracity or Michael Haneke's "Time of the Wolf" for full-on mysterious dread, this Irish production doesn't cut much of its own niche in an overworked genre.

L.A. Weekly by Ernest Hardy

As the film works toward its negative Eden ending, having illustrated just how little a life is worth, one of its most potent points is how brutally destabilizing hope can be when despair has become the norm.

The New York Times by Jeannette Catsoulis

Leavening the rather grim atmosphere with luminous earth tones (photographed by Suzie Lavelle) and a smidgen of wry humor, this low-budget beauty draws you in.