Los Angeles Times by Noel Murray

This film engages and challenges the audience throughout, raising questions about the relationship between humanity and the technology we rely on. It’s an exciting film to watch, but an even better one to think about after — preferably in the company of a real, physically present person.

IGN

Netflix's I Am Mother is an engaging sci-fi thriller-meets-coming of age drama, with three strong lead performances.

IGN by Kristy Puchko

Netflix's I Am Mother is an engaging sci-fi thriller-meets-coming of age drama, with three strong lead performances.

RogerEbert.com by Matt Zoller Seitz

Frustrating but engrossing, and impossible to critique in-depth without spoilers because it's driven by regular plot twists, I Am Mother adds another memorable creation to an already packed gallery of intelligent science fiction robots that are as complex as most humans.

Paste Magazine by Josh Jackson

I Am Mother offers just enough of a twist on an old futuristic tale to be enjoyable, and its small cast buoys the film above most small-budget sci-fi.

The Verge

I Am Mother doesn’t plumb the potential weirdness of [its] premise, and it’s working in a well-worn genre without breaking much new ground. But it effectively dramatizes our perennial love-hate relationship with artificial intelligence.

Screen Daily by Anthony Kaufman

I Am Mother mostly satisfies as another example of smart and slick indie sci-fi.

Film Threat by Matthew Passantino

As twists start to pile on, I Am Mother shifts from eerie to tedious, but there’s too much on display to outright dismiss.

The Verge by Adi Robertson

I Am Mother doesn’t plumb the potential weirdness of [its] premise, and it’s working in a well-worn genre without breaking much new ground. But it effectively dramatizes our perennial love-hate relationship with artificial intelligence.

Rolling Stone by David Fear

Australian filmmaker Grant Sputore, making his directorial debut, has a knack for keeping things moving, whether its within the claustrophobic walls of the “safe” house or, briefly, in the evocative scorched-earth landscape above ground.

The A.V. Club by Mike D'Angelo

So many truly disturbing revelations pile up in the final half hour or so that processing the relevant information leaves little time for raw emotion. Swank’s nameless character, in particular, remains a pencil sketch. Still, there’s no question that Sputore can direct a movie.

The Film Stage

Were it not for Mother’s telegenic exo-skeleton, which whirrs with every little maneuver, the film would be little more than a talky, over-stuffed mess of tropes better exercised elsewhere.

The Film Stage by Jake Howell

Were it not for Mother’s telegenic exo-skeleton, which whirrs with every little maneuver, the film would be little more than a talky, over-stuffed mess of tropes better exercised elsewhere.

The Guardian by Luke Buckmaster

The way it subverts (to say the least) traditional concepts around a parent/child relationship gives it uniqueness and value.

Variety by Amy Nicholson

Mostly I Am Mother is exactly what it seems: a good-looking allegory that postures like it’s wrestling with more ideas than it actually is.

The Playlist by Gregory Ellwood

A somewhat cool robot does not make a movie. ... The eventual twists aren’t that surprising and don’t really make sense in the context of even the film’s most basic world building.

The Hollywood Reporter by David Rooney

The problem is that despite his considerable skills, Sputore is so caught up with the cool technology he loses his grip on both the suspense and the primal human emotions that should be driving this physically imposing but numbingly cold dystopian vehicle.