Total Film

It’s not Altman, but its heart is in the right place and Drameh impresses.

Time Out London

The strands don’t so much intersect as float into each other’s peripheries to basically inconsequential effect, despite attempts to tie them together.

Empire

Covering alcoholism, manslaughter, infidelity and petty crime, there’s a rich spread of melodrama on offer, but none of the tales have meat enough to satisfy alone. Together, though, they form a varied backdrop to showcase some respectable character work.

Observer by Rex Reed

The actors are fine, but the material doesn’t give their talents much room to stretch.

The Hollywood Reporter by Sheri Linden

Though there’s clearly a compassionate impulse behind Leon F. Butler’s class-conscious screenplay, it rapidly devolves into implausible melodrama.

Variety by Guy Lodge

While the film initially exercises commendable restraint in braiding its separate narratives, its second half grows increasingly reliant on pat connections and coincidences.

Los Angeles Times by Gary Goldstein

It’s six or so characters in search of a meaningful movie.

The Telegraph by Robbie Collin

Intertwining, Altman-esque social tapestries are all well and good, but the connections between characters should ideally run a little deeper than having them occasionally stroll past each other in the street.

The Guardian by Peter Bradshaw

The complete jigsaw doesn’t fit together, hampered by plot implausibilities and unrealities.

Slant Magazine

Throughout the film's three interconnected stories, Jim O'Hanlon favors the blunt, maudlin manipulations of Crash.