User Score
8.3 out of 10

Universal acclaim- based on 13 Ratings

User score distribution:
  1. Positive: 13 out of 13
  2. Mixed: 0 out of 13
  3. Negative: 0 out of 13

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  1. AnnaW.
    Sep 8, 2007
    10
    Wonderfully witty yet full of pathos, I have watched this movie several times and I wept each time.
    • 0 of 0 users said yes
  2. ChadS.
    May 10, 2007
    7
    In the nick of time, just before "Snow Cake" has a chance to eat itself and choke on its own cuteness, the plug is pulled on one crowd-pleasing genre and settles into another populist breed of film. The transition is sudden and somewhat cruel, because the filmmaker, you suspect, has a disdain for such movies. What "Snow Cake" turns into can only be described as "Rain(wo)man". If you overlook the film's contrived(and highly coincidental) backstory, which explains how a misanthrope like Alex Hughes(Alan Rickman) would stick around with a whimsical autistic woman(Sigourney Weaver), your heart is bigger than your brain. Linda's next-door neighbor, Maggie(Carrie-Anne Moss), at first seems like an unlikely person to be living in a Canadian backwater like Winnipeg, until you realize that she's lying about who-left-who. Their fleeting romance is the best thing about "Snow Cake". Expand
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  3. Jan 25, 2012
    10
    Not the most significant movie dealing with the issue of autism, since it lacks the screenplay originality and power, but Sigourney Weawer is excellent as always.
Metascore

Mixed or average reviews - based on 15 Critics

Critic score distribution:
  1. Positive: 7 out of 15
  2. Negative: 0 out of 15
  1. The mental and physical landscape would do justice to an Atom Egoyan film, but in this film, the key dramatic moments feel as forced as they are predictable.
  2. Reviewed by: Derek Elley
    50
    Boosted by a delish performance from Carrie-Anne Moss as a local vamp who helps unthaw the Englishman, but holed beneath the waterline by a gratingly miscast Sigourney Weaver as the persnickety autistic.
  3. Reviewed by: Ella Taylor
    70
    Does sidle up to the brink of mawkishness, but it pulls back so nicely into Weaver's rich, hard-headed evocation of Linda's limitations.