Metacritic reviews

Bluebird is undoubtedly a remarkable achievement, especially for a first-time filmmaker.

A terrifically solid and sturdy effort across the board, Bluebird is the real deal and a true package of strong collaborators coalescing to make a wonderful debut film.

Keeping exposition spare, Edmands’ storytelling displays a pleasing economy of means, and an empathetic handle on characters all flawed in one way or another, existing in self-imposed solitude.

For all its piteousness, [it's] often moving, always well acted, and distinguished by rare stillness and beauty.

Shooting on 35mm, Jody Lee Lipes makes the harshness look beautiful and unforgiving, and in a film filled with strong performances, Morton’s work stands out.

A delicate and affecting drama with grace notes of mystery and redemption.

Bluebird never rises to the heights of grief, guilt and regret of the film it most closely resembles, Atom Egoyan’s “The Sweet Hereafter,” achieved. But Morton gives us a wonderful take on silent suffering.

Edmands maintains too measured a pace as he cycles through the various lives affected, to the extent that one begins to wonder when things will start kick in.

Earnestly well-intentioned and doggedly uncommercial, this is the kind of film that’s worth rooting for in principle, but a solid cast and evocative 35 mm photography can’t compensate for its slightly stultifying familiarity.

Unable to reconcile plot with poetry, Bluebird is knitted-together by its sense of place and lived-in performances, yet unraveled by anemic false melodrama and overbearing music.