Critic Reviews



Based on 31 critic reviews provided by
The film is quiet, understated and gentle, allowing the audience to take pleasure in teasing out its narrative subtleties, and presented with wonderful freshness and clarity.
Kore-Eda’s film is more than the beautifully luminous faces of his actresses, the particular way they move and speak, or the lovely landscapes of Kamakura, even though all of these should be admired. So much more lies buried in-between the lines.
Precisely because it’s less emotionally coercive than Kore-eda’s last couple of pictures, it’s even more moving: rather than lunging full-bore for the solar plexus, the truths it’s telling creep up on you.
As a result, the movie version feels a tad weightless, especially relative to its hefty running time. Anyone in the mood for two hours (and change) of sheer, unadulterated loveliness, however, will be amply rewarded.
Koreeda’s sensitive yet lucid helming keeps the performances precise yet natural.
The Playlist
Kore-eda's trademark humility and humanism is here, and we do get glimpses, even stretches, that suggest the piercingly bittersweet vitality of his best work. But "Our Little Sister" feels like "Kore-eda lite."
Slant Magazine
The film's reserve softens some of its more piquant observations about tradition and mortality.
The humour is as gentle as the girls are and, without sharp edges, the film occasionally veers towards schmaltz, but Kore-eda's deft touch and his eye for a subtle yet precise detail keeps the world grounded and consistently interesting, funny and at times moving.
It feels ineffably slight even if it’s a consistent pleasure to spend time in the company of these three likeable women.
The Film Stage
Had the story been more focused rather than trying to encompass all four sisters as protagonists as well as integrate a number of redundant secondary characters, it likely could have yielded more satisfying results.

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