A Dog Called Money

The Guardian by Cath Clarke

Harvey is mostly a watchful observer with a notebook; sometimes she reads lines of poetry she’s jotted down on the voiceover. But we barely see her interacting with anyone on the ground, which gives the whole thing an impersonal feel.

The New York Times by Glenn Kenny

Harvey is detail-oriented, good-humored, intimately involved and encouraging of her fellow musicians. The tunes she crafts for the resulting record are intricate and eclectic, but still honor the raw directness of her early work.

Time Out by Phil de Semlyen

If you’ve ever wondered what the boredom threshold is for watching a musician tuning a hurdy-gurdy, you’ll find the answer here.

The Hollywood Reporter by Stephen Dalton

There are teasing glimpses of artistic genius in A Dog Called Money, but eccentric choices and muddled intentions, too. A talent as strong and singular as Harvey deserves a more probing, less indulgent film than this.

The Observer (UK) by Wendy Ide

What was intended as an examination of the creative process backfires and becomes instead an inadvertent chronicle of oblivious privilege. Harvey wafts through scenes of poverty and devastation, then returns to her cocoon of a studio.