RogerEbert.com by Carlos Aguilar

If the director’s spell has taken hold as presumably intended, by the time the most outlandish touches appear, one has already surrendered to its visceral, chaotic allure.

Screen Daily by Wendy Ide

Like its magnetic central character, the entertaining latest from Luis Ortega is fascinating: a playful, shape-shifting, questioning journey that refuses to be neatly pinned down.

Slant Magazine by William Repass

Kill the Jockey’s originality consists not just in taking the clichéd metaphor of rebirth literally, but in casually ratcheting that literalness to ever more fantastical degrees.

Variety by Guy Lodge

Awash with kooky gags and bolstered by the strange, soulful presence of leading man Nahuel Pérez Biscayart, it’s fun but flighty, liable to throw some viewers from the saddle.

Screen Rant by Alexander Harrison

The cast deserves real credit for that, Biscayart especially. His physical expressiveness is truly extraordinary, and without his performance to transition us to the final act, Kill the Jockey doesn't succeed.

The Film Verdict by Stephen Dalton

This ebullient equestrian comedy thriller is effortlessly enjoyable as camp spectacle, with shades of Almodovar in the mix, even if its twist-heady screwball plot ultimately delivers more style than substance.

IndieWire by Sophie Monks Kaufman

Kill the Jockey is an elusive and sometimes frustrating watch. It elides interpretation in ways both intentional and undercooked, flirts with a greatness that isn’t fully earned, yet it has some glorious moments and never unseats the viewer.

Movie Nation by Roger Moore

It’s not wholly coherent. But anyone in the mood for a quirky, absurdist farce with full frontal nudity, gunplay and a lost hero trying to fulfill his pregnant girlfriend’s deal-breaker request should check out Kill the Jockey (simply “El Jockey” in Argentina). Because surreal and screwy film fare like this is rare, with or without subtitles.

The Guardian by Xan Brooks

It’s too skimpy and self-conscious, more a series of gestures than an organic whole. But Ortega frames his action with a delicious high style, interspersing tense standoffs with formal dance sequences. He gives the impression that all his characters are locked in a bizarre hothouse romance, even when they are chasing or attempting to kill one another.

The Hollywood Reporter by Leslie Felperin

In the end, it all feels a bit like a fashion film or some other branded exercise in style — except that the brand is Ortega’s peculiar and unique vision.