Metacritic reviews

Miller’s Girl is a stunning debut from Bartlett. The plot is winding and intriguing, with an absolute gut punch of an ending.

Freeman's charismatic and versatile performance as the embattled teacher injects a fascinating level of humanity into the fleshed-out character.

There is no hero or villain, only a murky undercurrent questioning whether having a muse is inherently predatory or not. And that story is worth writing.

Written, produced and directed by Jade Halley Bartlett, the film is both impressively erudite and unrelentingly self-aware, a combination it bravely attempts but doesn’t quite fully balance.

Within the muchness of it all, there are both occasionally thrilling moments and too little in terms of substance.

The putatively provocative and wannabe-controversial erotic thriller “Miller’s Girl” is a sordid little tale that isn’t nearly as clever and literary as it tries to be, nor is it as deliberately campy as 20th century entries in the genre such as “Wild Things” or even “Poison Ivy.”

What a salacious and silly miscalculation Miller’s Girl turns out to be.

A sort-of psychological, semi-erotic drama that, despite its literary pretensions, possesses roughly the intellectual heft of a perfume ad.

A work of glaring artifice, Miller’s Girl, written and directed by Jade Halley Bartlett, is being touted as a psychological thriller, but it’s too vapid and silly to do much besides titillate.

Jenna Ortega’s stark rise as Gen Z’s goth-glam princess takes a pointless, awkward turn in “Miller’s Girl,” a new romantic horror movie about cerebral people that’s simply tiresome.