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Eliza Scanlen is great and I love Shannon Murphy's use of dance and music.
Does it all work? Not quite, but you can’t fault a film for its ambition, least of all one that does manage to bring it all together for a deeply moving home stretch.
Slant Magazine by
It incorporates addiction, age-inappropriate romance, mental illness, and terminal disease into its plot without collapsing into a movie-of-the-week black hole.
The Playlist by
Given the subject matter, it’s difficult not to stray into mawkishness of some kind. But even with mistakes, the power of the main narrative is hard to erode.
Babyteeth is the kind of soft-hearted tearjerker that does everything in its power to rescue beauty from pain.
The Hollywood Reporter by
The movie — like the performances of its small ensemble — works best when the director gets out of her own way, forgetting her aversion to clean, conventional narrative and giving the material breathing space to resonate.
Babyteeth works best as an abrasive four-hander, though Murphy’s limber, sensually electric direction leaves the film with little clear evidence of its theatrical origins.
Babyteeth is a funny, vibrant and deeply moving piece of work. Its flaws are the flaws of youth, overcompensating for boredom with frenetic hyperactivity.
Chicago Tribune by
Murphy isn't afraid to play with color and light and text and music, or to let her characters dance like no one is watching, and often. That energy, embodied in the filmmaking and in the performances, is what puts this coming-of-age film into a class all its own.
Screen Daily by
Babyteeth is a funny, affecting group portrait, a comedy-tinged family drama.
The Film Stage by
Like the ramshackle family it so fondly depicts, Babyteeth is not without its flaws but it does suggest a confident new voice in independent cinema.
Thinking through things is one thing; doing them is another...
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