The Playlist by Joe Blessing

Though vastly different, Spoor is a fascinating counterpoint to Darren Aronofsky’s “mother!,” as both feature a feminine inflected natural sphere attempting to defend itself from the depredations of a boorish patriarchy. But where Aronosky’s allegory flattens its Mother Earth figure into an eternal victim, “Spoor” plays a more subversive game, suggesting that the repressed will rise and that victims will not always remain that way.

Los Angeles Times by Katie Walsh

This wildly entertaining eco-feminist crime caper, anchored by a winning lead performance from Agnieszka Mandat, isn’t just worth the wait, it’s an imperative watch.

IndieWire by Ben Croll

Spoor remains witty throughout, breaking even the tensest moments with the lead’s acid-tongued appraisals of the local hunters.

Screen Daily by Sarah Ward

Pondering imbalances of power is always timely, and here, it adds an extra layer of urgency and commentary to an already potent and perceptive offering.

Screen International by Sarah Ward

Pondering imbalances of power is always timely, and here, it adds an extra layer of urgency and commentary to an already potent and perceptive offering.

Film Threat by Alex Saveliev

There are some odd detours, a few prolonged stretches of Holland losing focus. But you know what? Forget the blemishes. It’s a gift that Holland is still producing thought-provoking fare like this.

San Francisco Chronicle by Mick LaSalle

Any Agnieszka Holland movie is worth seeing, even if Spoor isn’t up to the director’s best (“In Darkness,” “Europa, Europa”).

Boston Globe by Ty Burr

Animal lovers stand to flinch at the hunting scenes and other moments of violence, all of which appear to have been staged aside from documentary footage of creatures fleeing from gunshots. By contrast, the movie makes a dark but compelling case that the people on the other end of the barrel deserve whatever’s coming to them.

RogerEbert.com by Tomris Laffly

While it doesn’t measure up to some of the director’s greatest such as “In Darkness” and “Washington Square,” Spoor makes an unmistakable political statement nonetheless, with Holland’s lens capturing the heart and soul of the animals some of the film’s despicable characters cruelly disregard.

The New York Times by Ben Kenigsberg

Spoor is sensationally atmospheric. . . . The structure, though, seems counterproductively, even confusingly, elliptical, and the timing of flashbacks muddles the point of view. This is a whodunit that plays tricks with the “who.”

Variety by Owen Gleiberman

The movie is murky and disjointed, held together not so much by what happens as by a vague atmosphere of obsession.

The Hollywood Reporter by Deborah Young

It’s a meaty role for stage and film actress Mandat, whose very real pain at the thought of animals’ suffering commands sympathy, though eventually a little tedium. A tighter edit could avoid a lot of surplus emotions and possibly clarify a number of obscure plot points.

The Guardian by Peter Bradshaw

The film is watchable in its quirky and wayward way, with some funny moments – though shallower than it thinks.

The Film Stage by Zhuo-Ning Su

Holland keeps things going at a reasonable pace but, caught by a TV-esque practical blandness, seldom achieves something distinctly cinematic in terms of scale or style.

Film Threat by Filipe Freitas

Besides the main character, we see a bunch of loners attempting to fill a bit more of the unfocused main plot with distracting sub-plots that feel more ludicrous than fulfilling. Even with promising pouches of intrigue and an interesting, atypical character, we don’t get a full delivery of that promise.