Metacritic reviews

It’s an exciting ride, but with a wallop of genuine feeling underneath that makes it one of this year’s best films.

I’m Your Woman owes much to Brosnahan’s evolving performance as she goes from terrified housewife to trenchant survivalist over the course movie, and the movie consolidates the strengths of Hart’s previous work.

Hart and Horowitz map this hero’s journey onto her growth as a mother, her empowerment proving to be a source not just of strength, but love — a rare commodity in a crime flick.

I’m Your Woman benefits greatly from its off-kilter rhythms and intuitive digressions, even if it can be tonally uneven and a little obvious thematically at times.

We’ve seen this story from the husband’s point of view a million times, women like Jean relegated to the sidelines and rarely revisited once they’re sent away. It’s a welcome perspective shift; unfortunately, Hart’s slow burn doesn’t have enough fuel to grab your attention beyond an intriguing premise.

The drama works only in fits and starts. The vague danger that shapes it, and the narrative's underlying emotional intricacies, are too often explained rather than felt.

Even when it’s coasting, the cast still works hard to sell what they’re given and it remains visually handsome until the very end, an immersive and slickly captured last-act car chase proving a standout.

If wallpaper and polyester were any metric to judge a movie by, I'm Your Woman could have been a masterpiece.

Julia Hart drains the crime film genre of its macho bluster without replacing it with anything.

This is the kind of movie where the most dynamic thing in every scene is the art direction, followed by the natty retro costumes (which Jean must have used the cash to buy, since she didn’t have time to pack), and only then comes the people.