| 88 |
TV Guide
Neil Armfield's film hits hard because it sensitively shows how life on drugs can never be about anything else, and how the real horror of addiction is not what users do to themselves, but what they do to each other out of loneliness and despair.
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| 75 |
Boston Globe
Told in a serenely observational fashion.
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| 75 |
ReelViews
Despite being well made and supremely acted, Candy is a true feel-bad experience.
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| 75 |
San Francisco Chronicle
For all its depiction of a descent into drug addiction, Candy is filled with surprisingly sweet moments and goes down more easily than seems possible given the subject matter.
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| 70 |
Salon.com
With its intelligence, compassion, human terror and sheer loveliness, Candy is a winner despite the well-worn path it treads.
|
| 70 |
The New York Times
Doesn’t add anything substantively new, though it has been nicely directed by Neil Armfield, known in his country for his theater work, and features striking performances from Heath Ledger and Geoffrey Rush.
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| 70 |
Los Angeles Times
For a druggie movie, Candy is surprisingly dynamic and involving.
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| 67 |
The Onion (A.V. Club)
Though it's a well-worn story, Candy does touch on a universal anxiety. For two people basking in the heat of an all-consuming love, what happens when the power gets cut off?
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| 63 |
New York Daily News
Because although there are some very striking moments in Neil Armfield's debut, there are simply not enough to keep us absorbed the way a movie should.
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| 63 |
Chicago Tribune
The way director and co-adapter Armfield shoots it, the film's awfully pretty in its grimness, in the way "Leaving Las Vegas" managed to make train-wreck alcoholism more fake-lyrical than grungy.
|
| 60 |
Washington Post
Cornish provides a counterbalance for Ledger's authoritative presence, turning what could have been just another heroin movie into a flawed but engrossing parable on love and sacrifice.
|
| 60 |
The Hollywood Reporter
As the characters' lives fall apart, Ledger fails to bring the necessary gravitas to the role, and he looks a bit too healthy throughout.
|
| 60 |
Variety
Russell Edwards
Life, love and addiction make a mostly bitter, but occasionally sweet, concoction in Oz drama Candy, which is sometimes hard to swallow.
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| 58 |
Seattle Post-Intelligencer
Ledger mumbles his entire performance (some of it barely legible) as a fuzzy, friendly, happily passive heroin addict and sometime poet, as if he's too blissed out to even open his mouth as he simply drifts along with his addiction.
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| 50 |
Wall Street Journal
What we see, though, is the same old same old - beautiful faces turning gaunt and haunted, strung-out hero and heroine, stupid parents, de-tox worse than tox, descent to and return from the depths. Candy could be seen, I suppose, as a cautionary tale; take this as a cautionary review.
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| 50 |
Christian Science Monitor
There has to be a good reason to put yourself through yet another junkie odyssey and Candy flunks the test.
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| 50 |
Premiere
Ledger turns in another stellar performance and Cornish is heartbreakingly good also in this well-crafted film. But once that first plunger is pushed, the surprises are few.
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| 50 |
Slate
Dana Stevens
Geoffrey Rush is fine as a gay drug dealer who serves as an enabling Santa Claus to the doomed couple. But in the end, Candy is a little too sweet and not quite harmful enough to the audience's health.
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| 50 |
Village Voice
Rob Nelson
Any drug movie's effectiveness can be measured by the strength of its detox, and Candy doesn't sweeten the cold turkey. Still, it's a downward spiral from there in more ways than one. Never mind the neo-psychedelic-pop soundtrack and occasional double-vision cinematography: Dope just can't account for the film's fried brain cells.
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| 50 |
Entertainment Weekly
A wildly romanticized Australian druggie drama.
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| 50 |
New York Post
As the movie's feet get stuck in its own misery, it made me appreciate "Trainspotting" all over again - its wit, how it moved, the way any outcome for its characters seemed possible.
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| 50 |
Chicago Reader
Meredith Brody
A story that's reminiscent of the seminal "Panic in Needle Park."
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| 50 |
Portland Oregonian
Decent performances aside, the only interesting bits involve Geoffrey Rush as a chemistry professor who enables their self-abuse.
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| 40 |
Austin Chronicle
It's neither utterly real nor utterly romantic (heroin, like alcohol, manages to be awfully and unremittingly both).
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