Avis Metacritic

Benson, who also wrote the film’s screenplay, knows his way around heartbreak, and despite the elevated nature of the story — she time travels, for chrissakes — always finds room to add genuinely relatable elements to Harriet’s incredible plight.

The Greatest Hits might not inspire thoughtful essays, as a cinematic pop album it satisfies with a few somber notes, some lesser tracks, and a few terrific moments where it all just works.

Just when you think “The Greatest Hits” has painted itself into a corner, the script finds a way and the story lands in just the right place.

Benson’s film is a crafty yet subtle inversion of a stale genre. It moves the viewer and gets out while it’s ahead, aiming for maximum emotional impact over any flashy, absurd striving.

I’d applaud the movie for taking the form of its heroine’s pathologies if the result was something more than a good try with a lot of heart.

The 94-minute running time is too skinny to do the premise justice and The Greatest Hits feels like a Cliffs Notes version of a longer, better story. Plus, for a movie that relies on music for its emotional core, the soundtrack is lackluster at best.

The Greatest Hits boasts a compelling and original high-concept plot, but, as can be the case with high concept plots, this leads to much of the film’s first act being occupied by exhausting exposition.

It’s an intriguing premise. ... But The Greatest Hits is the kind of film that should sweep you away with its charm and emotion. Instead, it’s too transparently button-pushing to go beyond the stale tropes of the weepy drama.

The Greatest Hits is way worse than just a sophomore slump, more accurately, a long-the-works opus that should have just stayed in the vaults.

“The Greatest Hits” feels like the remainder-bin version of better love stories.