USA Today by Brian Truitt

On one hand, the core conceit – about elderly people suffering thanks to crooks and legal loopholes – is upsetting and infuriating on the surface. But Blakeson puts such a colorful, over-the-top sheen on it, plus lets Pike and Dinklage loose on each other, that you can’t help but be entertained by the criminal carnage and extreme shenanigans.

Chicago Sun-Times by Richard Roeper

A vicious and cheerfully twisted psychological thriller dripping in deception and dread, bathed in pop-art colors and infused with a wickedly dark sense of humor.

ABC News by Peter Travers

A shockingly funny sendup of our money-trumps-morals culture starring a dynamite Rosamund Pike who outdoes her ‘Gone Girl’ evil by partnering in crime with the great Peter Dinklage for the most delicious, decadent treat of the new movie year.

The Playlist

It’s not that anyone else in the movie isn’t good. But no one ever quite matches the unrivaled brilliance of Pike when given a clear runway to strut her skills. Seeing her in peak form nimbly navigating the tonal minefield of this late stage capitalism critique is an absolute delight.

Consequence by Jenn Adams

While I Care a Lot has a lot to say about capitalism, feminism, and the current political landscape, it’s also a thrilling dark comedy. The pacing is occasionally slow and some plot points admittedly defy logic, but the film effectively channels the collective rage many of us feel after a year of watching systems catastrophically fail those most in need of their protection.

The A.V. Club by Noel Murray

I Care A Lot isn’t some brilliantly subversive social satire. It’s a tightly constructed, masterfully acted, lightly stylish little caper picture, which revels in just how mean it can be. It’s not essential, and it’s not for everybody. But for those who prefer their pulp to carry the faint aroma of moral rot, this movie is a real treat.

The Playlist by Marshall Shaffer

It’s not that anyone else in the movie isn’t good. But no one ever quite matches the unrivaled brilliance of Pike when given a clear runway to strut her skills. Seeing her in peak form nimbly navigating the tonal minefield of this late stage capitalism critique is an absolute delight.

Variety by Owen Gleiberman

A sleekly unnerving thriller.

The Guardian by Benjamin Lee

Pike is astonishingly good, tearing into her role with the same icy menace that made her Oscar-nominated performance in Gone Girl so indelible and like the script she’s working from, there’s such restraint with her venom that it makes her all the more terrifying.

The New York Times by Jeannette Catsoulis

An unexpectedly gripping thriller that seesaws between comedy and horror, I Care a Lot is cleverly written (by the director, J Blakeson) and wonderfully cast.

The Guardian by Peter Bradshaw

Although I can’t help wishing Blakeson could have given Pike’s co-star Dianne Wiest more to do in the final act, it is grisly and gleefully cynical entertainment. If Ben Jonson directed films, they would be like this.

The Hollywood Reporter by David Rooney

Whether you find this entertaining or repugnant will depend on your stomach for a despicable reality. But the movie delivers unquestionable pleasures in the pairing of Pike's monstrous manipulator with the always wonderful Dinklage's cool, calm killer, a man too smart not to recognize and respect his adversary's formidable intelligence.

IndieWire by Kate Erbland

Twists abound, and while they don’t always pay off, at least “I Care a Lot” cares enough to deliver a full, bloody meal of a film for anyone intrigued by the allure of anti-heroes.

The Film Stage by Jared Mobarak

Nothing Blakeson gives us is necessarily new or unique, but his ability to put it all together into this very American capitalist greed package is fresh enough to enjoy that familiarity for its sheer hilarity.

TheWrap by Steve Pond

I Care a Lot may have delusions about being a cautionary tale of elder abuse and the perils of court-appointed guardianship, but let’s be honest: It takes way too much delight in despicable people doing despicable things to really care a lot, or even much at all, about the larger social issues.

The Globe and Mail (Toronto) by Barry Hertz

A film in which every single character is despicable, but some are more despicable than others, could have run into a sympathy problem. Yet thanks to J. Blakeson’s zippy direction and a chillier-than-thou lead performance from Rosamund Pike, the movie is immensely watchable. Just not especially memorable.

Slant Magazine by Chuck Bowen

Throughout, J Blakeson crafts sharp, curt dialogue that makes a fashion statement out of contempt.

Screen Daily by Tim Grierson

The escalating cat-and-mouse game between Pike’s schemer and Peter Dinklage’s Russian mobster has its pulpy pleasures, but the script’s arch cleverness and heavy-handed message about the corruption of the American dream make it hard to care as much as we should about who ends up on top.