Generally unfavorable reviews - based on 30 Critics

Critic score distribution:
  1. Positive: 6 out of 30
  2. Negative: 10 out of 30

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Critic Reviews

  1. There aren't many movies that deal with middle-aged women, and this one manages to do so with a fair amount of wit and heart.
  2. 75
    A surprising and delightful romantic take on modern women.
  3. 75
    Crush is an Aga romance crossed with modern retro-feminist soft porn, in which liberated women discuss lust as if it were a topic and not a fact.
  4. 75
    MacDowell offers an engaging portrait of a complex woman who has survived life's slings and arrows. It makes Crush an affecting take on modern women.
  5. Reviewed by: Richard Corliss
    The film bubbles with acid wit, in the tradition of Billy Wilder and Preston Sturges, while simmering with the ache of lust pursued and love lost.
  6. 63
    What Crush lacks in substance and originality, it makes up for with sheer likability.
  7. Reviewed by: Derek Elley
    Some fine screen chemistry between its leads and a spikey, offhandedly comic script by young writer-director John McKay put spice into Crush.
  8. It's the chemistry between the women and the droll scene-stealing wit and wolfish pessimism of Anna Chancellor that makes this "Two Weddings and a Funeral" fun.
  9. 50
    With heavy emphasis on cliché and stereotype, has at least four false endings -- and drags on for nearly two hours -- before it finally contrives to reunite its sitcomish pals for a last drink together.
  10. Reviewed by: Mike Clark
    After "Chocolat" and this, how about a moratorium on candy-centered comedies?
  11. 50
    There are pleasures to be had early on in Crush, but they get fewer and farther between. Nice while it lasts, the glow wears off all too quickly.
  12. Despite some jaunty performances and its pretty Cotswolds locale, the film, in the end, is hardly a pleasure at all.
  13. Andie MacDowell bursts out of her good-girl cocoon in Crush to become a bright, bad butterfly: drinking, smoking, flirting with Ecstasy, having moaning sex on a tombstone just minutes after the funeral of a friend.
  14. MacDowell, Staunton and Chancellor are terrific, tearing into their juicy roles and reveling in first-time feature writer-director Jim McKay's sharp-tongued dialogue.
  15. In the future, as recorded in the bible of British cinema, it will be written that "Four Weddings and a Funeral" begat "The Full Monty" which begat "Billy Elliot" which begat way too many pale imitations struggling to peddle the same brand of sloppy sentimentality. Amen.
  16. Crush is that strange mixed bag -- an otherwise wretched movie in which an actress gets to do some of her best work.
  17. New York Daily News
    Reviewed by: Jack Mathews
    The tragedy that separates the Good Crush from the Bad Crush is a cleaver that severs the film's relationship with reality.
  18. For women who smoke and drink like fiends, the trio of pre-owned babes in this weirdly rotten femme-porn romance have awfully good, unwrinkled complexions.
  19. Wall Street Journal
    Reviewed by: Joe Morgenstern
    The script's foolish contrivances crush its content.
  20. 40
    The sudden, radical change of tone is something far beyond Mr. McKay's nascent abilities as a filmmaker, and Crush never really rights itself.
  21. Baltimore Sun
    Reviewed by: Chris Kaltenbach
    Crush is the kind of movie that gives friendship a bad name.
  22. The kind of movie that gives "chick flicks" a bad reputation.
  23. Begins as a captivating romantic comedy and then, at the very moment it's most involving, takes a wholly gratuitous and disastrous swerve and just keeps on going from bad to worse.
  24. 20
    What’s striking about John McKay's feature debut is how much contempt toward his female characters the writer-director manages to pack into 115 minutes.
  25. Oddly off-balance, estrogen-powered dramedy.
  26. 20
    Loquacious and dreary piece of business.
  27. 20
    Never good, Crush takes a turn for the worse when it takes a turn for the serious. Its attempt to drop cartoon comedy for cartoon tragedy essentially thrusts the characters from Cathy into the panels of Mary Worth.
  28. It's about women, but as written and directed by a man, it appears to make no emotional sense at all. It treats women like idiots.
  29. Manipulative tragedy, muddled motivations, incongruous reconciliations, deranged cuteness, all of it directed with a tin ear and laden with a score that evokes the experience of a conditioned lab rat.
  30. 0
    The most depressing movie I've seen all year; in fact, I'm hard-pressed to name a movie aimed specifically at women that has ever made me feel as insulted and disgusted.

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