Review of Still Alice (2014) by Anthony Lane for The New Yorker — 12 Jan 2015
Time and again, as it comes to the next stage of deterioration or distress, it flinches. Try laying it beside Michael Haneke’s “Amour,” which shows the effect of a stroke on an elderly woman, no less refined than Alice, and on her loved ones.
Haneke knows the worst, and considers it his duty to show it; Glatzer and Westmoreland want us to know just enough, and no more.
You can read the full review where it was originally posted online.
This review of Still Alice (2014) was written by Anthony Lane and published by The New Yorker on 12 Jan 2015.
Still Alice has generally received very positive reviews.
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