Avaliações do Metacritic

A taut and stylish thriller that manages to draw fresh blood from some very familiar territory.

Sinha’s debut may not be destined to be the next American indie classic, but it’s a powerful debut film with a stirring perspective on criminality and immigration.

But the violence, when it comes, is shocking. The native cunning, when it makes itself known, is chilling.

Alternately incisive and uneven.

Stray Dolls lacks some narrative momentum, as the characters drift from petty crime to petty crime and party to party. But the film has a remarkable sense of place.

The downbeat, disenfranchised “dark side of the American dream” thing has been done to death in a thousand noirs, but Stray Dolls elbows just enough room for itself in that crowded category, especially for how it honors the American cinematic tradition of the last-chance motel: a place designed for passing through that somehow never lets you leave.

The film is at its best in exploring the gaps between dream and reality.

Despite its sense of dead-end desperation, Stray Dolls is made worthwhile by the richness of Shane Sigler’s nighttime cinematography and the consistent empathy of its tone. Sinha, herself a first-generation immigrant, isn’t about to judge anyone for reaching.