ScreenCrush by Britt Hayes

Just when you thought rape-revenge movies had nothing left to say (if they even had anything to say in the first place), along comes Revenge — which transcends mere cleverness with a thoughtful, challenging approach to a worn-out concept.

Village Voice by Alan Scherstuhl

Fargeat is thoughtful about the elements of her genre, flagrant in her inversions of them but also ferocious in her commitment to them. She has an eye for landscape, a love of light — relish the infernal glare of the dust whenever a driver here hits the brakes at night — and an all-too-rare mastery of geography in an action scene.

TheWrap by April Wolfe

In other hands, this film could go kitsch, could all be a big joke, but Fargeat directs Lutz like no other Rambo-style action hero before her.

The Playlist by Eli Fine

Revenge is a hugely satisfying horror movie, a real achievement on the parts of all involved.

Los Angeles Times by Katie Walsh

This rape revenge story swaps points of view, but it doesn't break the mold. The characters, archetypes and beats are familiar, which allows Fargeat to play with symbolism in a bold, pointed manner.

Austin Chronicle by Marc Savlov

Ferociously subversive and trippily beautiful debut feature from director and screenwriter Coralie Fargeat.

RogerEbert.com by Christy Lemire

The film we need right now, from a filmmaker we need right now: French writer/director Coralie Fargeat, who makes her stunning feature debut with a rape-revenge fantasy that’s as brutal as it is thrilling.

The Globe and Mail (Toronto) by Barry Hertz

From beginning to brutal end, this is Fargeat’s uncompromising creation, but Lutz is at the centre of the terror, and acquits herself well as a person never to be dismissed, or crossed, again.

Paste Magazine by Andrew Crump

With Revenge, Fargeat has waved a blistering middle finger at rape culture and rape culture’s enablers. Revenge isn’t hers alone. It’s womanhood’s, too.

IndieWire by David Ehrlich

Revenge is a bit too thin to sustain its running time (despite its slickness and mesmeric rhythm), but Fargeat’s well-executed finale is worth the wait, particularly for how it cements Lutz as a final girl for the ages. A girl who’s stripped of her humanity, and then finds the strength to return the favor several times over.

The New York Times by A.O. Scott

Revenge leaves a lurid, punchy afterimage, an impression somewhere between righteous delight and quivering revulsion. It’s both a challenge and a calling card, in which Ms. Fargeat at once exposes what’s wrong with her chosen genre and demonstrates her mastery of it.

Time Out by Cath Clarke

What’s interesting about Revenge is that it’s told from a female perspective – and by a female filmmaker.

The Hollywood Reporter by David Rooney

This is a rape retaliation thriller both tautly controlled and wildly over-the-top, executed with flashy style, sly visual humor and a subversive feminist sensibility.

Slant Magazine by Chuck Bowen

Fetishism, parody, and various registers of violence propel a livewire thriller that mines the free-floating hostility existing between genders.

The A.V. Club by Katie Rife

The film works best if you approach it as a fantasy, with Jen as a near-supernatural angel of vengeance; otherwise, it’s easy to get hung up on the inconsistencies as the action grows increasingly over-the-top.

Consequence by Michael Roffman

Revenge is one big fuck you to a genre that has treated women like meat — often literally — and she takes back the reigns with incredible muscle. But what makes the movie riveting is how Lutz’s transition from damsel to destructor is filled with all kinds of tumbles.

Consequence of Sound by Michael Roffman

Revenge is one big fuck you to a genre that has treated women like meat — often literally — and she takes back the reigns with incredible muscle. But what makes the movie riveting is how Lutz’s transition from damsel to destructor is filled with all kinds of tumbles.

The Film Stage by Jared Mobarak

Right when I was ready to resign myself to the thought that Revenge simply started too strong to maintain itself, Fargeat brought me back from the brink with a tense labyrinthine conclusion making use of its locale and blood as plot propulsion.