Variety by Peter Debruge

Many filmmakers mistakenly think that exploiting tragedy is the way to jerk tears from their audience, when in fact, gestures of spontaneous kindness shown by near-strangers can be most moving — something Lloyd understands, boosting the positive energy with anthems like “Chandelier” and “Bulletproof.”

RogerEbert.com by Sheila O'Malley

Herself is excellent with how difficult and shameful it can be to ask for help. Shame is such a terrible experience people will do literally anything to avoid it, and Sandra's battle with that shame spiral is the most insightful aspect of the film. It's profound on a deeper level than seeing a group coming together to build something.

The A.V. Club

In an era when neighbors often turn on neighbors, the film’s optimistic “It takes a village” perspective risks hokeyness. But thanks to Dunne’s quietly powerful performance as a single mother barely treading water, the end result is an effective, affecting look at community triumphing over fear.

The Playlist

A heavy film about the indignities victims of domestic violence have to experience to be safe, Herself still possesses much grace and doesn’t dare to wallow in its misery. It’s also a poignant film about what it takes to be at peace and how it is everyone’s duty to make sure their voices don’t go unheard.

IndieWire by Kate Erbland

Lloyd’s feature strikes a fine balance between all of life’s ups and downs, illustrated by Sandra’s unfortunately relatable traumas and a series of stellar performances.

The A.V. Club by Anya Stanley

In an era when neighbors often turn on neighbors, the film’s optimistic “It takes a village” perspective risks hokeyness. But thanks to Dunne’s quietly powerful performance as a single mother barely treading water, the end result is an effective, affecting look at community triumphing over fear.

The Playlist by Dilara Elbir

A heavy film about the indignities victims of domestic violence have to experience to be safe, Herself still possesses much grace and doesn’t dare to wallow in its misery. It’s also a poignant film about what it takes to be at peace and how it is everyone’s duty to make sure their voices don’t go unheard.

CineVue by Matthew Anderson

Phyllida Lloyd’s strong third feature, Herself, is as much an indictment of the grinding bureaucracy failing to house and protect women abused at the hands of their partners, as it is the men who inflict such despicable physical and psychological trauma.

The Irish Times by Donald Clarke

Dunne’s script, co-written with Malcolm Campbell, packs too much plot in its final 10 minutes, but it hits the emotional beats with gusto throughout. It was, when it was shot two years ago, an effective comment on an absurd crisis. Sadly, it is still that.

The Guardian by Peter Bradshaw

There’s a strong basis of originality here, and the warmth and good nature of the movie carries it along.

Arizona Republic by Bill Goodykoontz

Dunne's performance is quietly assured; Sandra's strength may waver, but it never falters. You root for her. You root for the movie, something that Lloyd purposely makes difficult to do at times. That’s going to throw some people, no doubt. But she resists easy resolution, making “Herself” a satisfying experience.

The Film Stage

Regardless of missteps with the ending, the majority of Herself is soulful and empathetic enough to do justice to its subject, doing the important job of reminding audiences everywhere how important community truly is for survivors.

The Film Stage by Logan Kenny

Regardless of missteps with the ending, the majority of Herself is soulful and empathetic enough to do justice to its subject, doing the important job of reminding audiences everywhere how important community truly is for survivors.

Screen Daily by Fionnuala Halligan

Whenever Herself settles into predictability, the strength of Dunne’s performance pulls that comfortable rug away. And if her screenplay and her acting helps audiences understand what it is to be homeless, to be vulnerable in this way, Herself will have been a A-grade build by an A-list team.

The Telegraph by Tim Robey

Beneath the mounting contrivances, Dunne’s sturdy performance supplies an earnest core which Lloyd should have trusted more completely.

Slant Magazine by Chris Barsanti

Phyllida Lloyd’s film cannot escape its own somewhat mundane self-set contours.

The Hollywood Reporter by Leslie Felperin

The idyll is all so jolly that when the film swerves into misfortune in the final act, it feels not like a necessary dramatic corrective but just a dreary downer, like medicine there to stop the spoonfuls of sugar from going down so easily.