25
A Mouthful of Air is a Lifetime Channel take on a delicate subject.
What are people saying?
What are critics saying?
80
The Globe and Mail (Toronto) by Barry Hertz
There is a delicate touch deployed here, and not only with Julie, but those surrounding her. Depression, Koppleman seems to be saying, is not a one-person battle. It can swallow everyone in a victim’s orbit.
67
Koppelman’s attempts to do too much are easy to forgive in a film that often seems to be doing so little. The same is true of the writer/director’s rookie clumsiness, which is offset not only by Amanda Seyfried’s expert performance in the lead role, but also — and even more importantly — by Koppelman’s own unwavering conviction about the limits of self-expression.
67
It’s a beautiful-looking film. The characters treat each other with respect, and I’m sure that there are people out there who will appreciate that the movie, addresses a tough issue, without being too taxing or challenging. At the same time, the movie’s cautious approach short-changes the story and the issue.
40
Los Angeles Times by Kimber Myers
For a film so grounded in the real-life issue, the movie doesn’t work to make its characters feel human or its world feel real, blunting the emotional impact it could have had.
30
The New York Times by Natalia Winkelman
Directed by Amy Koppelman and based on her novel of the same name, A Mouthful of Air aspires to show how depression can sully even the loveliest of scenes. The scenes the movie chooses, however, play like a parody of white privilege.
60
The Hollywood Reporter by Sheri Linden
Though it’s not without cinematic touches and affecting, sometimes harrowing moments, and even with a convincingly fragile and unmoored Amanda Seyfried at its center, the drama is often hampered by an instructive sensibility that gives it the air of a feature-length PSA.
40
The wispy depression drama A Mouthful of Air floats more weighty ideas about mental illness and suicidal ideation than its episodic narrative can accommodate.
70
A Mouthful of Air makes it past those potential flaws on the strength of Seyfried’s performance. To look at her face—to watch as her delight in her son shifts almost imperceptibly into a private hell—is enough.