Time Out London by Guy Lodge

Amid all the shifting mirrored surfaces and hazy ambiguities of Olivier Assayas's bewitching, brazenly unconventional ghost story, this much can be said with certainty: Kristen Stewart has become one hell of an actress.

The Guardian by Peter Bradshaw

It is actually Assayas’s best film for a long time, and Stewart’s best performance to date.

RogerEbert.com by Peter Sobczynski

They (Assayas/Stewart) have managed to out-do themselves with a work as mysterious, moving and haunting as anything that has materialized in a movie theater in a while.

Chicago Sun-Times by Richard Roeper

It’s a brilliant character study, a devilishly confounding murder mystery, a legitimately haunting psychological thriller, a hell of a ghost story — and one of the most memorable viewing experiences I’ve had in the last few years.

Washington Post by Pat Padua

You don’t need to be familiar with Assayas’s previous work to enjoy Personal Shopper. It works in two realms: as an engrossing ghost story and a drama that addresses profound matters of life and death.

The Globe and Mail (Toronto) by Durga Chew-Bose

A riveting, impossible-to-shake masterwork that leaves the audience spooked, not by its telling but by its commitment to abstract themes of grief, solitude and coming of age.

TheWrap by Alonso Duralde

If Personal Shopper doesn’t spell everything out for its viewers, it’s no more accommodating to Maureen; she, like us, must use her skills to intuit what’s happening around her and what the future will hold. It’s a captivating swirl for all involved.

Los Angeles Times by Justin Chang

Personal Shopper is a gripping portrait of solitude, which is to say it’s a hell of a one-woman show for Stewart, the rare actress who can blur into the background and magnetize the camera in the same scene.

The New York Times by A.O. Scott

Personal Shopper is sleek and spooky, seductive and suspenseful. It flirts with silliness, as ghost stories do. And also with heartbreak.

Village Voice by Melissa Anderson

When one goes to see Kristen Stewart — among the most quicksilver of her generation's performers — in Olivier Assayas's Personal Shopper, a shape-shifting, resolutely of-this-moment ghost story that features her in nearly every frame, one goes not to watch her act but refract.

IndieWire by Eric Kohn

This is a measured, richly ambiguous work about the subjective process of grief — masquerading as a ghost story — that experiments with the minutiae of film language as only a master of the medium can do.

The Telegraph by Robbie Collin

The film depends on a performance from Stewart in which she’s virtually never off-screen or less than riveting.

The Film Stage by Giovanni Marchini Camia

As per Assayas’ custom, the film is chock-full of fascinating themes and ideas and his indisputable flair as a director makes it compulsively watchable.

Variety by Peter Debruge

This reunion between Kristen Stewart and the director who gave her one of her best-ever roles in 2014’s “Clouds of Sils Maria” is a broken, but never boring mix of spine-tingling horror story, dreary workplace drama and elliptical identity search, likely to go down as one of the most divisive films of Stewart’s career.

CineVue by John Bleasdale

As Personal Shopper progresses a rather predictable series of twists almost drain the story of interest.

The Playlist by Jessica Kiang

Personal Shopper is a mess — not an uninteresting one, and better that than a staid, unadventurous bore, but a mess nonetheless.

Screen Daily by Lee Marshall

Ultimately, all we have to hold on to in a story that lurches inexorably into CGI absurdity is our emotional connection with Stewart’s lost, lonely character.

Screen International by Lee Marshall

Ultimately, all we have to hold on to in a story that lurches inexorably into CGI absurdity is our emotional connection with Stewart’s lost, lonely character.

The Hollywood Reporter by Todd McCarthy

This aggravatingly empty would-be suspense piece puts all its trust in its star to save the day, but even this compulsively watchable performer can’t elevate such a vapid, undeveloped screenplay.