The two stars stay on their game but their relationship is largely sidetracked in favour of fending off ghouls. While the heart rate may increase the creepiness dissipates, though The Autopsy of Jane Doe remains good genre fun - if little more.
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So clever and well-done that it makes the sins of the finale easy to forgive.
While “Autopsy” lives up to its title, providing plenty of grisly medical gore, the forensics induce less squirming than the exacting yet playful way Ovredal keeps making us anticipate more unnatural acts as the Tildens realize something is seriously amiss.
Øvredal gives us B-movie thrills better than most of his peers, creating a campy, nasty, tremendously fun horror experience in which death proves not the ending we might expect.
Gruesome without being gory, The Autopsy of Jane Doe achieves real scares with a minimum of special effects.
Cox and Hirsch are both accomplished actors with an easy, believable chemistry, and Cox in particular has the gravitas to really sell some of the more grotesque plot twists.
This is cinema’s most comprehensive look at the gruesome business of necropsy since Stan Brakhage's The Act of Seeing with One’s Own Eyes.
‘Jane Doe’ never aspires beyond the ordinary, and more crucially even fails to meet that modest standard. Lifeless and lackluster, ‘Jane Doe’ never draws blood.
The Autopsy of Jane Doe is an age-old story of family horror that benefits from an approach focused on dark whimsy instead of typical genre jumps.
Not for the squeamish, Ovredal's chilly slab of body horror ultimately proves less than the sum of its forensically fileted parts.