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Stockholm, Pennsylvania
This film tells about a woman who was kidnapped as a child. When she returned, all things are changed and still struggles to feel at home again.
29 March 1999, Tucson, Arizona, USA
23 February 1961, San Francisco, California, USA
29 November 1952, Englewood, New Jersey, USA
12 April 1994, The Bronx, New York City, New York, USA
23 September 1957, Anaheim, California, USA
6 June 1963, Liverpool, Merseyside, England, UK
9 April 1966, New York City, New York, USA
January 24, 2015
The film devolves into ugly, useless histrionics that are more laughable than meaningful.
January 24, 2015
A well-meaning disappointment, striving to say something about family and motherhood but mishandling the execution.
January 27, 2015
Half of a good film and half of not a very good film, Stockholm, Pennsylvania's mid-runtime fall from grace almost needs to be seen to be believed.
January 24, 2015
The tone-deaf misjudgment of the film's second half is catastrophic; a bafflingly ill-advised blunder that "Stockholm, Pennsylvania" can never recover from.
February 25, 2016
A provocative subject deserves a provocative platform. And while Stockholm, Pennsylvania is certainly provocative, it could stand to be a bit smarter.
January 24, 2015
With a bit more maturity and confidence in her vision, Beckwith is sure to come up with something that's a knockout all the way through.
January 24, 2015
Strong performances from Saoirse Ronan and Cynthia Nixon keep Stockholm, Pennsylvania intense and absorbing, but Nicole Beckwith's initial impulse to tell her confinement story as a stage play feels as if it might have been a sounder choice.
March 19, 2015
The director originally conceived of "Stockholm" as a theater piece. Her original instinct may have better served the material.
February 13, 2015
Sincere but convoluted... The almost-campy plot mechanisms make it hard to take it very seriously.
January 23, 2015
While there are a few things that didn't quite feel genuine, Ronan and Nixon sell the unpredictable arc.
January 24, 2015
From its opening scene, the film feels desaturated and airless, as if the intrusion of energy or color might upset the characters' delicate task of healing.
