The New York Times by Teo Bugbee

The fantasy of The Sky Is Pink is that Aisha’s death allows her to see her mother with adoring omniscience, and the film is never more pleasing than when it revels in the glamorous melodrama of a superstar performing motherhood.

Los Angeles Times by Katie Walsh

Chopra and Akhtar have great chemistry, and though the nonlinear storytelling is somewhat unnecessary, Bose deftly manages the challenging tonal shifts within this lengthy film that never drags.

IndieWire by Kate Erbland

While the film’s first half boasts universally strong performances (even babyAisha gets some screen time), it’s Chopra Jonas who emerges as the film’s driving force.

The Hollywood Reporter by Deborah Young

For those who like head-on, immersive emotional experiences at the movies, The Sky Is Pink may be a direct hit.

Variety by Dennis Harvey

The emotions we witness and feel should have more force given the obviously stressful circumstances depicted. But they feel like all the edges have been sawed off to flatter both the subjects and principal actors.

The Guardian by Cath Clarke

The ending is unforgivably mawkish, though, and the running time of two-and-a-quarter hours is simply too long.