Village Voice by Serena Donadoni

Gass-Donnelly (The Last Exorcism Part II) blends supernatural elements into a psychological thriller for a kind of spectral therapy, but his experimentation ultimately conforms to genre conventions.

Variety by Nick Schager

The film would be a routine affair if not for its baroque aesthetic gestures and a captivating turn from star Abbie Cornish.

The Film Stage by John Fink

I admire the film’s ability to commit to a rather simple idea, but that idea seems to lack the gravity and impact it ought to.

Los Angeles Times by Noel Murray

Gass-Donnelly has a great eye and brings some genuine beauty to his movie’s rural setting. The preoccupation with aesthetics though means that “Lavender” is sometimes quieter, slower and artier than the material warrants.

The Playlist

Had we been able to witness character growth, perhaps this story would have been more successful at creating emotional connections and gripping sequences. The almost automatic nature with which family secrets are revealed, however, result in a quickly forgettable and emotionally empty experience.

The Globe and Mail (Toronto)

After a car accident “aggravates an old skull fracture trauma,” Jane returns to the family-death-farmhouse, where she takes way too long to figure out the incredibly obvious person responsible.

Observer by Rex Reed

Boring, derivative, and infuriatingly illogical, Lavender is a ghost story with no thrills, no surprises, and no sense.