Metacritic reviews

While the film attempts to thread a tricky needle between absolute drama and wacky comedy — dramedy! — Harris’ script is actually at its best when leaning more into the story’s tougher stuff.

It’s nice to see McCarthy and O’Dowd in roles that showcase their emotional range; one just wishes it were in a project worthy of their talents.

The smooth professionalism of so many outstanding participants can’t help but elevate a very ordinary film a little bit higher. Despite the best efforts of both McCarthy and O’Dowd, though, there’s never a moment where it truly takes flight.

The actors lend sincerity to the proceedings, but the film keeps cheating to achieve its dramatic payoffs.

Suffice it to say that The Starling’s emotional arcs are as narratively complete as they are psychologically dashed-off.

While this kind of manipulative melodrama is often easy to dismiss, what makes The Starling even more frustrating is the amount of talented people who got sucked into its spin cycle of sadness.

With a predictable trajectory and cringeworthy metaphors, The Starling is so slushily sentimental it makes the typical tearjerker look like a noir. Despite the lived-in performances from its three high-profile stars, this attempt at heartfelt drama is hopelessly by-the-numbers.

What could have been a thoughtful, poignant story about loss ended up being an unfortunate misfire.

McCarthy is one of our finest physical comedians. Every moment of physical comedy she performs here is cringey.

Every implausible scene, every unconvincing character, every contrived dollop of symbolism, every toe-curlingly misjudged and unearned emotional climax seems as if it has been concocted in some secret bio-warfare lab for assaulting your mind with pure, toxic nonsense.