Metacritic reviews

The script for this film is absolutely incredible.

Sealey’s film may not add up to a fully realized and coherent film, she has nevertheless made an engrossing feature that recontextualizes Bundy not as the alluring psychopath, but as a profoundly desperate figure, who craves attention.

No Man of God has a purpose: The truth. This isn’t a Ted Bundy movie, but rather a movie about Ted Bundy.

Our leads have a toe-to-toe intensity that clicks in many scenes. Wood and Kirby are well-matched, with Kirby giving us the superiority complex that generations of post-Bundy Hollywood serial killers have affected, and Wood showing just how troubling this assignment becomes.

As good as both actors are, watching characters sitting around talking gets old. But the film perks up considerably midway through, becoming a taut beat-the-clock thriller as it covers the days just before Bundy’s 1989 execution, the tension lying in whether Ted will fulfill his 11th-hour promise to confess.

It’s a chilling psychological inquiry that holds your attention for the duration.

Individual moments are gripping, and Kirby’s performance puts its queasy hooks in you, but the film, overall, has a scattershot momentum until the last act, set in 1989, when Bundy is about to be executed.

No Man of God doesn't tell us anything about Ted Bundy we didn't already know, but it's a riveting drama anchored by two phenomenal performances from Luke Kirby and Elijah Wood.

As an exploration of the misogyny that drove Bundy’s crimes, Amber Sealey’s film mostly falls short of its potential.

Sealey, whose formal touch often flirts with cliché (lots of circling around Hagmaier and Bundy, with one man’s face temporarily obscured by the back of the other’s head), pointedly reminds us of Bundy’s many victims, even though none of them are shown.