The New York Times by A.O. Scott

Take This Waltz, Sarah Polley's honest, sure-footed, emotionally generous second feature. Ms. Williams, one of the bravest and smartest actresses working in movies today, portrays a young woman who is indecisive and confused, but never passive.

Austin Chronicle by Kimberley Jones

The film can feel a touch overscripted, but Polley and her actors effect true-to-life rhythms of speech.

Washington Post by Michael O'Sullivan

Known for comedy, Rogen and Silverman are the film's most delightful surprises, and their performances shine.

St. Louis Post-Dispatch by Calvin Wilson

As memorable as it is insightful, Take This Waltz is one of the best films of the year.

Variety by Justin Chang

Despite a few tonal and structural missteps, this intelligent, perceptive drama proves as intimately and gratifyingly femme-focused as Polley's 2006 debut, "Away From Her."

Salon by Andrew O'Hehir

Take This Waltz is frank, erotic, often very funny and sometimes startling, with an underlying tragic sensibility.

Movieline by Alison Willmore

Take This Waltz is an unusually kind film about infidelity -- not because it sidesteps or shortchanges heartbreak, but because it doesn't let any one of its characters bear the full burden of blame.

Chicago Reader by J.R. Jones

Unfortunately for Polley, Take This Waltz is a good film serving mainly to remind us that "Away From Her" is a great one.

Los Angeles Times by Betsy Sharkey

Somehow it is the waiting - for the fall that you expect is coming, for the marriage you figure will fall apart - that makes Take This Waltz one to make room for on your dance card.

Arizona Republic by Bill Goodykoontz

Williams is so good, so natural, so believable in the role that it's easy to forgive her character -- or at least wish her well. That's no small feat, because she can drive you crazy.

ReelViews by James Berardinelli

The film's emotional truth and honesty allows us to forgive a great many flaws.

Village Voice by Melissa Anderson

There are enough unexpected delights, such as repurposing "Video Killed the Radio Star" during a critical moment between Margot and Daniel, to keep us interested in their drawn-out, teasing, tantalizing courtship.

Entertainment Weekly

By never standing back from Margot, the movie courts vagueness as well.

Slant Magazine by Ed Gonzalez

Take This Waltz is full of chance encounters, some less likely than a lobby with nine hundred windows or a bed where the moon has been sweating.

Boxoffice Magazine

Williams embodies Margot's inner turmoil with an unfussy sense of terrified instability.

Time Out by Keith Uhlich

The troubling turns the story takes, which are meant as a rebuke to happily-ever-after stereotypes, are much more interesting in conception than they are in execution.

The Hollywood Reporter

This sophomore feature is a stumble backwards in terms of maturity.

The Guardian by Peter Bradshaw

In theory, these are twentysomethings we're talking about. But they walk and talk like fortysomethings or fiftysomethings, such is their dullness and self-absorption.