Metacritic reviews

The sci-fi chamber drama Marjorie Prime is exquisite — beautiful, intense, shivering with empathy.

Even at its most sorrowful, Marjorie Prime is suffused with warmth, the core of it emanating from Smith in two complementary iterations of the same character.

Leave it to Michael Almereyda (Experimenter) to make a science fiction movie that consists of little more than scenes of two characters talking in plushly appointed living rooms.

Mapping the intersection between history and emotion, Michael Almereyda finds himself in Alain Resnais terrain.

A poetic, though admittedly esoteric piece of cinema.

Marjorie Prime, a micro-scale sci-fi chamber drama, fascinatingly explores the perception and dissolution of what we remember throughout our lives.

The film might not have quite learned how to communicate visually rather than verbally, but the words are enticing ones and Sean Price Williams‘ serene, airy cinematography is fluid and varied enough that it never feels stagebound.

Marjorie Prime is superbly acted, and it’s certainly interesting. Hamm strikes a wonderful balance as a talking re-creation that feels almost human, and the rest of the cast is equally nuanced.

Though it mostly resists contrived “opening-out” devices, and preserves the decidedly low-tech visualization of the play’s sci-fi premise, Michael Almereyda’s well-cast film never finds a suitably complex cinematic language for its tangle of intellectual and emotional ideas.

Almereyda’s feature is rich in acting talent, but this stagey, flat drama can’t match the wattage of its leads.