40
The chillingly unanswered questions of the story are all given the most obvious answers imaginable and relatability is carelessly tossed aside, along with logic and investment.
What are people saying?
What are critics saying?
50
Slashfilm by Chris Evangelista
If "Cat Person" could just strip away all the nonsense and instead focus on its more realistic, genuine elements, it would be something special. Instead, it ends up being a mildly amusing mixed bag.
50
You can’t say that Cat Person is shy about taking the medium to task for selling a romantic ideal that’s more than a little curdled. If only it was this rigorous and incisive about the source material itself.
25
New York Post by Johnny Oleksinski
Even without the laughable new material, the addictive quality of the short story is lost in adaptation from the get-go.
50
Los Angeles Times by Justin Chang
There is nothing better about this Cat Person, which coarsens, flattens and torturously over-elaborates a story whose elegant concision was precisely what made it such rich and elastic interpretive fodder.
67
While Susanna Fogel’s feature film version of the story is appropriately excruciating (this is a high compliment; mostly, it will set your teeth on edge and raise the hairs on the back of your neck, just as it should), its muddled, messy, and brand-new final act feels at odds with Roupenian’s story and the very emotions it raised with its readers. The final word on “Cat Person” the film? Not nearly as biting and perfectly pitched as the story that inspired it: It’s good…enough. It could have been more.
58
Entertainment Weekly by Leah Greenblatt
By swerving into territory already better owned by outrageous indies like Promising Young Woman — and to a lesser degree, last year's Sundance breakout Fresh — Cat forfeits its own underlying message, without finding anything else new or even particularly coherent to say.
70
The Hollywood Reporter by Lovia Gyarkye
A hair-raising third act adds an unusual coda — one that I, after only one viewing, am still processing. The relief, however, is in the filmmakers’ approach to these tense scenes: Fogel and Ashford loosen their grip, at last trusting us to sit in our discomfort, draw our own conclusions and sharpen our tools for the discourse.
70
Emilia Jones and Nicholas Braun let the tension build between their characters and, although director Susanna Fogel doesn’t always navigate the film’s tricky tonal shifts well, Cat Person pokes at larger issues about modern courtship that don’t seem likely to disappear anytime soon.
75
It’s still worthwhile to consider the post-#MeToo ideas that Cat Person throws at the wall around notions like empathy, consent, and the vitality of crystal-clear communication and see what sticks. What you will end up with might look like a messy artifact, but one that will at least rattle in ways both witty and provocative.