Mistress America's reviews
Media reviews
Cinemanía
"Screenwriters of Frances Ha has joined forces again to invoke the spirit of the best screwball comedy."
Hitfix
Baumbach has cast a wonderfully talented group of up-and-coming actors around Gerwig and Kirke, but it's the screenplay and the leads' incredible chemistry that makes it all so entertaining.
The Wrap
"What makes America so lovely -and Mistress with a touch of 'Frances Ha', my favorite movie of 2013- is its balance between compassion and scrutiny: Baumbach and Gerwig does not let these characters move away with small appearances, but the film also condemns these people or presents as something perpetual. "
Variety
"Greta Gerwig shines in a role tailor-made for her (...) One of the warmest and purely funniest films by Baumbach".
New York Times
"It is announced as a screwball. But this intelligent film, with fast pace, is not really the crazy amusement and lighter than the term usually conjures."
Fotogramas
"For fans of acute bohemian comedy."
New York Post
"Mistress America never falters when speaking of the complicated female friendship."
Rolling Stone
"Gerwig is a lover of all funny and strong things, her performance with Kirke (Gone Girl) is groundbreaking. You never know how you are going to get hit."
The A.V. Club
'Mistress America' is a kicky hybrid, marrying the filmmaker?s gift for quotable youth satire to an old-fashioned screwball energy.
The Hollywood Reporter
'Mistress America' pivots from being a loose-limbed girl-talk movie that rambles all over New York City to a stylized housebound social comedy that may feature the fastest spoken dialogue in an American film since Howard Hawks' 'His Girl Friday' or Peter Bogdanovich's 'They All Laughed'.
Chicago Sun-Times
"Gerwig is a magnetic actress, but she seems to overreact in this role. Even in the best moments of Brooke, she not completely charming or interesting."
Los Angeles Times
"The problem is that while the characters of Mrs. America have a fast and witty dialogue, it does not really seem to be addressing the audience, instead dedicating themselves to talk to each other".
Entertainment Weekly
"The last genius of Noah Baumbach on its privileged New Yorker whim evaporates at the beginning".