All Critics (108) | Top Critics (36) | Fresh (99) | Rotten (9)
In your twenties you decide on the final version of you. Sophie is working on it; Frances is stuck in her crazy, clueless, can't-pay-the-rent stage.
It's a tribute to Gerwig's performance, somehow both clumsy and elegant, that she wins us over despite ourselves, that we come to appreciate her aimlessness in a goal-oriented society ...
This is an odd film (creepier than it knows), and even if you feel the atmospheric company of Dunham-ism, with a little of Whit Stillman, Henry Jaglom, and Woody Allen, the core influence on Noah Baumbach's film is fifty years older or more.
Baumbach usually builds his films around difficult protagonists, but Frances is entirely endearing, at once silly and deep, hopeless and promising.
The dialogue and editing are zippy and generally charming, combining with the tart observations of 20-something culture to create a nice frisson.
A black-and-white salute to the French New Wave (the score is borrowed from Georges Delerue, composer of many a Truffaut and Godard film) that manages to be very much of this moment ...
The story becomes chaotic and disjointed, but that's the point: Frances is tumbling towards her 30s with no sense of direction and this is where Gerwig excels, deftly pulling you along on a bumpy ride.
Baumbach and Gerwig have co-written a film about the point when spontaneous, giddy arrested adolescence ceases to be endearing and threatens to be annoying.
Anchored by a charming performance from Greta Gerwig, it's as light and breezy as a walk in Central Park, and just as refreshing.
A joyous portrait of an unformed personality that should strike chords of recognition in all who watch it.
Frances Ha could be THE post-college-angst comedy of the '10s. This is what happens when Mumblecore grows up and turns into a real movie.
Agreeable low-budget modern-day urban comedy.
Frances Ha is a refreshingly contemporary film, exploring 20-something hipster ennui with accuracy, empathy and humour.
As long as you remember to laugh, Frances Ha is a tolerable experience. Forget the "ha ha" and Frances Ha is beyond unbearable. I found this an odd and often frustrating truth, but it's what makes Noah Baumbach's new movie a success.
Gerwig keeps you on side and rooting for Frances to get her act together in what becomes an affectionate salute to messy lives, an endearing underachiever and a New York state of mind.
Don't be fooled by Frances with all her feigned insecurity and branding of herself as "undateable" and predicting she'll be a lonely spinster. She's a psychopath.
Gerwig's deft screwball timing turns every disaster into a grace note. This may be a comedy of awkwardness, but rather than curl, your toes will tap.
A refreshing amount of buoyancy to dance and charm its way through Quarter-Life Crisis territory. One of the best performances of Greta Gerwig's career to date
Frances Ha is a sympathetic but not uncritical depiction of a girl's gradual evolution into a woman; one that never condescends by forcing her to abandon all her quirks and impish qualities in the final act... An absolute delight, this is.
Indie darling Gerwig has a great deal to do with the picture's success: she's disarmingly likable...
There's a level of audacity beneath the lightweight whimsy in this unassuming low-budget comedy.
"Frances Ha makes a star out of Gerwig, and she's the kind of star we need: a goofy one we can feel tender about but never underestimate."
'I can't account for my own bruises,' Frances says, as if she were a clumsy kid with an adult's vocabulary. Does the remark refer to more than the abrasions on her skin?
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Source: http://www.rottentomatoes.com/m/frances_ha_2013/
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