30
Washington Post by Ann Hornaday
Sadly, the filmmakers haven't given viewers enough context or information about their protagonist to know whether he's utterly free or utterly unmoored -– or to care very much either way.
What are people saying?
What are critics saying?
50
The misery is there, all right, in every woozy, spaced-out shot of Hoffman clutching his gas-soaked rag. But in the end, do we really care?
60
The New York Times by Dana Stevens
The movie is so small and emotionally constricted that it gives Hoffman too little room to explore his range.
80
Washington Post by Desson Thomson
Hoffman's touchingly fractured performance gives the picture a warm dimension.
75
San Francisco Chronicle by Edward Guthmann
A downbeat but oddly affectionate tale.
60
Love Liza needs more than mood on its side. A moment of recognizable human behavior would have been a fine place to start.
75
An oddly endearing little chamber piece that provides a terrific showcase for Hoffman, surely the best actor who has never been nominated for an Oscar.
80
Dallas Observer by Robert Wilonsky
Provides Hoffman with what he's long deserved: a movie of his own.
75
Chicago Sun-Times by Roger Ebert
The movie proceeds with a hypnotic relentlessness that hesitates between horror and black comedy.
70
Todd Louiso's directorial debut emerges at once as compelling and as a bit of a specimen due to the entirely singular nature of the protagonist's behavior.