Film Threat by Alan Ng

Human Capital is a fantastic study of people being pushed to their limits, not just financial, but emotional and social.

Movie Nation by Roger Moore

There are missteps, threads that seems to clash with everything that’s woven around them. But Moverman and director Marc Meyers (“My Friend Dahmer”) keep that loom weaving, their story moving forward and their movie about the sometimes discounted value of Human Capital perfectly engrossing, from start to finish.

Screen Rant by Hannah Hoolihan

Meyers' disjointed approach to Human Capital expertly weaves its story into a gripping mystery that's further elevated by exceptional performances.

Variety by Dennis Harvey

This “Capital” succeeds as a well-acted crisscrosser of a melodrama between two awkwardly entangled families in upstate New York. Where it falls well short is in attaining the level of biting social commentary Virzi drew from the same material.

The Hollywood Reporter by John DeFore

Engrossing on a moment-to-moment scale thanks so some very fine performances, the film doesn't click together in the transformative way such stories occasionally do, and does less with themes of wealth and class than it surely intends to.

RogerEbert.com by Matt Zoller Seitz

Human Capital is so exquisitely cast, down to the smallest role, that it puts viewers in the unusual position of wishing a film were a TV series or a much longer movie, the better to take advantage of its best assets.

Los Angeles Times by Noel Murray

A magnificent cast only partially compensates for the fizzling narrative.

New York Post by Johnny Oleksinski

If you find hedge funds hard to wrap your head around, the movie Human Capital won’t do much to ease the confusion.

ScreenCrush

A solid, workmanlike melodrama with an attractive ensemble cast. What it lacks is the flair and substance that marked Paolo Virzi’s 2013 version of the same material.

The New York Times by Wesley Morris

The Italian movie, which Paolo Virzì directed, had a marrow-deep instinct for class. There were higher costs. The people in it were stranger, with sharper angles; they were alive. This new movie, which Oren Moverman wrote, Marc Meyers directed and has parts for Liev Schreiber and Marisa Tomei, is a character study that hasn’t done its homework.