Entertainment Weekly by Lisa Schwarzbaum

In his debut feature, the director is wise enough to move his hand-held camera wherever Steen wants to go.

Salon by Andrew O'Hehir

Applause may present as gritty European realism, but the struggle inside Thea is almost theological in scale, and worthy of Milton or Kierkegaard.

Austin Chronicle by Marc Savlov

Which ultimately is what Applause is really about: applying the greasepaint of the daily mundane over the scar tissue of a damaged life, striving for a reality outside of a bottle (and off the stage) while still maintaining some semblance of what made this particular lion roar in the first place.

Los Angeles Times by Betsy Sharkey

It is a singular performance and a deeply affecting if imperfect film.

The A.V. Club by Sam Adams

Zandvliet's direction lacks Steen's gradations. The handheld, rubbed-raw style wears thin after a while, growing monotonous and wearying.

New York Post by V.A. Musetto

Director and co-writer Martin Pieter Zandvliet draws inspired work from Steen.

San Francisco Chronicle by Ryan Lattanzio

Applause is a very minor film with a massive performance at its center.

Movieline by Stephanie Zacharek

A small movie with modest ambitions, and accordingly, it packs only a modest emotional punch.

New York Magazine (Vulture) by David Edelstein

As much of her (Steen) as there is, you'll want more.

Time Out by David Fear

Her (Steen) emotional acrobatics are reason enough to sit through Applause's parade of pain, though it's a movie to admire rather than enjoy.

Village Voice by Melissa Anderson

Usually an enervating process to witness onscreen, Steen's subtle calibrations of self-hatred and raging narcissism exhilarate.

The Hollywood Reporter by Sheri Linden

The simple but affecting film begins a weeklong award-qualifying run Friday before opening in stateside art houses Jan. 21, and is worth a look for its gutsy and commanding central performance.

The New York Times by Manohla Dargis

When an actress gives herself as wholly as Ms. Steen does here, a filmmaker should return the favor with a comparable level of craft and commitment, which is largely absent from this movie.

New York Daily News by Joe Neumaier

Steen, her face full of remorse, does a great job of portraying someone unclear of where to go or what to say without a script.