आलोचक समीक्षाएं

Cave's assured direction creates a sickly sweet, dreamy world, and though its story sometimes lacks the dynamism it needs to fully connect, Kidman, unsurprisingly, carries the film over the finish line.

Holland blossoms in the space where all-American domestic fantasy ends and nightmares begin, but never quite delivers on its premise, if only because the resolution feels so familiar.

It is her performance that ensures every tonal shift lands as it goes from playfully comedic to delightfully dark and back again. Despite how overstuffed and unwieldy it gets, seeing Kidman work her magic at every turn will never not be a joy to see.

Holland is full of good ideas, good acting, and stylish design. However, it is too much to overcome with a meandering narrative and a deeply exploitative main character that oscillates between being framed as sympathetic and unlikeable.

Holland boasts striking advancements in the director’s style and committed performances from Kidman, Macfadyen and Bernal, but these qualities can’t quite save a narrative fundamentally confused about its purpose.

Unfortunately, the film’s off-kilter tone and the characters’ beguiling opacity only enrapture for so long. The constant commentary about the banality of suburbia deadens the story, and a couple of late-reel twists fail to satisfy.

Cave’s work here is weighed down by a tensionless Andrew Sodorski-penned script that lacks intrigue and takes about an hour and a half to get going. Then, the movie is over.

It squanders the talents of its star, especially for this particular brand of unsettling, on a bizarrely paced script that adds up to nothing.

It’s a story about how people hide their true selves behind costumes like the perfect wife or even the forced whimsy of Tulip Season. Its tragic misstep is how much it refuses to actually look under those surfaces.

The discomfort in watching Holland is not knowing if something is intended or, like the main character, you’re looking for things that aren’t there.