Movie Nation by Roger Moore

Few movies about getting sober are as brilliant at conveying the allure of drowning, wallowing in alcohol, the emotional and physical liberation it seems to offer, as The Outrun. And rare is the story told within this most personal of experiences that exults in its trials, the gut check of “one day at a time” and the exultant release from the trap of addiction.

RogerEbert.com by Tomris Laffly

It’s a gorgeous artifact and a cinematic experiment that works beautifully, one innovative frame at a time, centered on Ronan’s soaring and soul-restoring performance.

Original-Cin by Liz Braun

It’s not accurate to say the film stars Saoirse Ronan. Saoirse Ronan is the movie, the luminous north star of every scene.

Austin Chronicle by Kimberley Jones

Picture scenes of excess followed by degradation, shame, teary promises of “never again,” resolve to start anew. Then the record skips and we’re right back to the beginning of the song, and it doesn’t sound any better on repeat listen. The Outrun hits similar beats, yet manages to do so in ways that feel novel at first, and ultimately transcendent.

ReelViews by James Berardinelli

The Outrun avoids pretentiousness and the emotional stakes are so high that it doesn’t threaten to become boring.

IndieWire by David Ehrlich

Fingscheidt’s nonlinear approach allows the film to ride the tidal rhythms of addiction, while Ronan’s committed performance churns those ebbs and flows into a widescreen journey that earns its epic backdrop.

Vanity Fair by Richard Lawson

Those in recovery, and those close to someone who is, ought to find something nourishing in The Outrun, a stirring reminder of the human capacity to regroup, to accept a bitter past and anticipate a better future.

Screen Daily by Tim Grierson

Even when the film risks becoming overly precious, Ronan keeps Rona’s struggles gripping. It is a tale not so much of triumph as one of melancholy resilience.

New York Magazine (Vulture) by Bilge Ebiri

The film is, first and foremost, a visual and sonic experience. We can lose ourselves in it. I think we’re meant to.

The Guardian by Adrian Horton

The Outrun is the rare two-hour movie that made me forget to check the time. That it does so while avoiding the many cliches of the cinematic memoir adaptation . . . is its own achievement, a testament to the source material and Ronan’s tremendous performance.

The Hollywood Reporter by David Rooney

The Outrun — the title refers to tracts of outlying grazing land on arable farms — is slightly overlong and at times feels cluttered. But it depicts the protagonist’s brutal struggle with enough distinctive elements — in every sense of the word — to make it more than just another draining addiction story.

Collider by Ross Bonaime

Director Nora Fingscheidt adapts Amy Liptrop’s memoir of the same name like a master conductor, melding the past and present expertly to create a staggering look at addiction through a magnificent performance by Ronan.

The Playlist by Gregory Ellwood

The Outrun begins and ends with Ronan. There are very few moments in the movie where she isn’t on screen, and to say she’s up for the challenge is an understatement. It’s a very strong performance and, somewhat impressively, not as showy as you might expect given the material.

The Film Stage by Dan Mecca

Though there may be too much here, plenty of it’s compelling and important. The Outrun is undoubtedly a hard sit, but Ronan serves as a superb vessel through choppy waters.

TheWrap by Lex Briscuso

It’s a bit muddled in execution, but despite its faults, the film is visually ambitious with things to say hidden under the surface.