68
Metascore
9 reviews · Provided by Metacritic.com
- 90The New York TimesBeatrice LoayzaThe New York TimesBeatrice LoayzaAbounding with nasty women, The Origin of Evil could have easily been flattened by the weight of a feminist objective. Untethered from such neat messaging, this decadent murder-movie takes the online credo, “be gay, do crimes,” and runs with it — to delicious results.
- 90Film ThreatAlex SavelievFilm ThreatAlex SavelievIt’s a feast for the eye and for the mind, done in a nonchalant way that would make the most seasoned filmmakers jealous.
- 75Movie NationRoger MooreMovie NationRoger MooreA rich and powerful patriarch faces the end with a household full of women scheming against him in “The Origin of Evil,” a clever and twisty French thriller that’s a little bit “King Lear” and a little bit more “Sucession.”
- 75RogerEbert.comGlenn KennyRogerEbert.comGlenn KennyThe web spun by The Origin of Evil arguably features one twist too many, but the viewer is in for more than a pound by the time it happens. Largely thanks to Calamy’s rock-solid performance.
- 75IndieWireRyan LattanzioIndieWireRyan LattanzioThe Origin of Evil is ultimately Calamy’s show as a calculating and desperate woman seeking love and acceptance in all the wrong places.
- 70Los Angeles TimesGlenn WhippLos Angeles TimesGlenn WhippMarnier could have taken another pass at the film’s secondary characters (the upcoming thriller “Saltburn” has the same problem with its dysfunctional clan), and whatever notions he’s trying to put across about the patriarchy don’t quite land. But he has a star in the sparkling Calamy.
- 60The GuardianCath ClarkeThe GuardianCath ClarkeWithout a doubt this is easy entertainment, never dull, and it has some shrewd things to say about class and money – though the satire might have been sharper and the running time shorter by a good 20 minutes.
- 38Slant MagazineClayton DillardSlant MagazineClayton DillardThe Origin of Evil recalls Ruben Östlund’s Triangle of Sadness for how its prolonged, soft-peddled skewering of the wealthy seems convinced of its Buñuelian irreverence.