Empire

Another winner from Daldry, this is an unexpectedly gritty crime drama set in the teeming favelas and grimy backstreets of Rio. A cracking script from Richard Curtis, with roughly 80 per cent of the dialogue in street patois, is brilliantly served by the three leads.

The Guardian

As a mystery, Trash is compelling enough though its milieu and the outstanding performances at the centre of the movie are what set it apart.

CineVue

The sheer joy and energy of the boys propels Trash and keeps us rooting for good over evil despite the contrived ending.

Time Out London by Cath Clarke

Some people will hate Trash for being not grittily real enough, but Daldry’s point – a hope-against-hope optimistic one – is that the energy of young people can change Brazil.

The Guardian by Jordan Riefe

As a mystery, Trash is compelling enough though its milieu and the outstanding performances at the centre of the movie are what set it apart.

Empire by Simon Braund

Another winner from Daldry, this is an unexpectedly gritty crime drama set in the teeming favelas and grimy backstreets of Rio. A cracking script from Richard Curtis, with roughly 80 per cent of the dialogue in street patois, is brilliantly served by the three leads.

CineVue by Lucy Popescu

The sheer joy and energy of the boys propels Trash and keeps us rooting for good over evil despite the contrived ending.

New York Post by Sara Stewart

Comparisons to “Slumdog Millionaire” are inevitable, but the kinetic Trash has a rhythm all its own.

Entertainment Weekly by Staff (Not Credited)

The child actors are all charming and refreshingly un-child-actory, and Martin Sheen is good as gruff, hard-drinking priest.

Los Angeles Times by Michael Rechtshaffen

The compelling film, like its energetic young stars, is in constant motion. Although the nominally gritty tone occasionally gives way to the director's weakness for the theatrical, the film is rooted by that trio of engagingly authentic performances.

Portland Oregonian by Marc Mohan

The result is an uneasy mix of social-issue realism and escapist excitement that's ultimately disposable.

Variety by Jay Weissberg

Trash works in large part thanks to the infectious energy and sheer pleasure in comradeship exuded by the three young teen boys.

The Hollywood Reporter by Jordan Mintzer

At best, Trash works as a vibrant, occasionally suspenseful postcard-portrait of a place that’s always great to see on the big screen.

The A.V. Club by Noel Murray

But while once upon a time Daldry made a very good movie like "Billy Elliot", here he lets what should’ve been an efficient little thriller get stymied by an excess of style, and the weight of self-importance.

The Telegraph by Tim Robey

Having your heart in the right place isn’t much use, if you’ve forgotten your head somewhere up Sugarloaf Mountain.

Slant Magazine by Clayton Dillard

Director Stephen Daldry, working from an exploitative script by Richard Curtis, opts for a full-on Slumdog Millionaire imitation.