Women Who Kill - Movie Reviews - Rotten Tomatoes

Women Who Kill Reviews

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February 6, 2017
Not exactly a comedy and not precisely a horror flick, Women Who Kill ultimately falls flat.
July 6, 2021
The laughs are steady and smart and nigh on rollicking at times
March 14, 2019
A killer cast and smashing first-time directing from Ingird Jungermann elevates Women Who Kill beyond hipster overkill and towards something much more interesting. This macabre horror-comedy will follow you all the way home.
Full Review | Original Score: 4/5
May 14, 2020
Women Who Kill is a charming, layered work that makes me want to see these characters in another film or television series right away. Seek this one out.
December 27, 2017
This macabre innovation upon the romantic scenario is the film's most appealing characteristic, as well as the source of much of its humour.
April 22, 2016
Women Who Kill is a smart comedy about the fear of finding oneself vulnerable.
Full Review | Original Score: B+
November 21, 2016
Wickedly funny.
July 25, 2017
The humor is dry and the acting deadpan in "Women Who Kill," a comedy that plays it droll and is all the funnier for it.
August 17, 2017
It takes a familiar theme of romantic comedies - the fear of commitment - and gives it new life by adding a morbid element to the mix.
March 20, 2017
Appealing as the film's storyline is, and adept as the feature proves at navigating shifts in tone from amusing to sinister and back again too, it's minutiae that matters most.
Full Review | Original Score: 3/5
July 24, 2017
Jungermann's savage wit knows no bounds.
Full Review | Original Score: B+
July 24, 2017
New-relationship anxiety escalates to dark suspicion -- or is it unhinged paranoia? -- in Ingrid Jungermann's nimble horror-tinged comedy Women Who Kill.
August 7, 2016
A drolly amusing, lightly macabre variation on the standard lesbian romantic comedy.
July 28, 2017
The final twist in Women Who Kill might leave you first shaking your head, and then marveling at Jungermann's courage in allowing a character as alive in her contradictions as Morgan the imaginative luxury of ambiguity to the very end.
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