Wall Street Journal by John Anderson

The performers—not just the miraculous Ms. Pugh but Ms. Cassidy; her mother, Elaine Cassidy (who plays Anna’s mother); and Tom Burke, as the journalist-love interest Will Byrne—give memorably complex portrayals in a tale where elements theological, maternal, political and pictorial are transformed alchemically into narrative gold.

TheWrap by Tomris Laffly

In the end, Lelio earns the powerful close of The Wonder with every temperate turn. His film, a career-best, departs like a birdsong, with an optimistic finale as perfect and revelatory as they come.

The Hollywood Reporter by Stephen Farber

Nothing would work quite as well without the performance by Pugh. She commands the screen from her very first appearance, and we never have doubts that anyone who tries to interfere with her will be facing a formidable adversary.

The A.V. Club by Jack Smart

Thanks to a typically mesmerizing leading turn from Florence Pugh, it’s a film that can hold up a mirror to believers and nonbelievers alike as the best stories of faith do.

We Got This Covered by Martin Carr

Surrounded by a solid ensemble of cast iron characters actors, The Wonder tries to address some serious issues beneath the guise of a beguiling period piece. What audiences are ultimately left with equates to a moral fable with female empowerment holding things together.

The Guardian by Benjamin Lee

A film about the danger of believing without questioning that turns us into full-throated believers in whatever Lelio and Pugh can do.

Los Angeles Times by Justin Chang

Lelio and his co-writers have made a smart, subtle disquisition on the necessity of both skepticism and faith, with a particularly keen understanding of religion’s uses and abuses.

The Independent by Clarisse Loughrey

Pugh is very much at home in this kind of role, but it’s no less arresting in its familiarity.

The Guardian by Peter Bradshaw

Pugh’s pure force carries everything, and conveys the central paradox: to unlock this mystery, Lib is going to have to surrender to it, to believe in it, in order to gain Anna’s confidence and learn the child’s own awful secret. The wonder reverberates with the pangs of hunger and fear.

The Observer (UK) by Mark Kermode

Few will remain unmoved by this intriguingly adventurous and thought-provoking drama.

IndieWire by David Ehrlich

Impressive as it is that The Wonder is able to squeeze so much from its spartan trappings, the film still feels clipped at 110 minutes; there may not be a lot to chew on, but there’s almost too much to savor.

Collider by Chase Hutchinson

It is by no means a perfectly constructed work, but there is something more immense in its thematic aspiration that provides plenty for Pugh to play around with. All that makes it unwieldy also makes The Wonder mesmerizing so that, even when the spell is broken, you can’t shake it from your mind.

The Playlist by Gregory Ellwood

As always, Lelio has a way with his actors. Nothing will ever feel forced. Even the most melodramatic stakes will feel grounded. And yet, despite a pointless framing device the film simply does not need, it’s missing some of the visual magic of his earlier films.

The Film Stage by C.J. Prince

Pugh’s performance is more adequate than impressive, a result of her character having background and motivations laid out so there’s little else to take from what’s onscreen.

Variety by Peter Debruge

An evenhanded but ultimately preposterous adaptation of Emma Donoghue’s novel, co-written by the author herself (with an assist from Alice Birch).