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Manohla Dargis, New York Times: Tadjedin shows an intimate understanding of how couples communicate through ellipses and of all that remains unsaid even amid torrents of angry words. Read more
Wesley Morris, Boston Globe: It's the sort of movie that thinks cutting between two different stories makes it art. Usually, it feels like an exercise in art. There's a lot of calisthenics but very little beauty or truth or whatever it is the movie is going for. Read more
Peter Rainer, Christian Science Monitor: Will Michael succumb and prove Joanna correct in her suspicions? Will Alex's French accent conquer all? Do you care? I didn't. Read more
Owen Gleiberman, Entertainment Weekly: The will-they-or-won't-they structure is a bit facile, but Last Night is on to something fascinating. Read more
Lisa Schwarzbaum, Entertainment Weekly: Read more
Kirk Honeycutt, Hollywood Reporter: The real question, is who cares? Read more
Sheri Linden, Los Angeles Times: It's hard to care about the fate of a marriage that never quite comes into focus. Read more
Elizabeth Weitzman, New York Daily News: Massy Tadjedin's intimate directorial debut takes a spare, thoughtful approach to relationships. Read more
Kyle Smith, New York Post: Suspenseful though it is, the movie is quiet to the point of being sleepy, and Worthington is simply not working out as a screen star. Read more
Rex Reed, New York Observer: It's a quiet, contemplative film that reminded me of Mike Nichols' Closer, with too many shots of lighting cigarettes and looking pensive in train windows, but I liked it. Read more
Mick LaSalle, San Francisco Chronicle: He's withheld and she's, frankly, grating. So we don't really care if they weather the current storm, because sooner or later they're bound to get divorced, anyway. Read more
Stephen Cole, Globe and Mail: Forget about sex or adultery -- there isn't enough life in Last Night. Read more
Tom Huddleston, Time Out: 'Last Night' is an empty exercise in sheer self-regard, a tedious, lifeless trawl through the secret lives of the rich and beautiful. Read more
Karina Longworth, Village Voice: Here, as in a cosmetics ad, the performers are assigned to telegraph desire as characters defined by visual stereotype, their empty chatter decorated with facile metaphors. Read more
Stephanie Merry, Washington Post: Tadjedin banks on the power of telling, familiar moments, betting that viewers will recognize the heartache at the center of a fleeting expression or hurried action. For the most part, her gamble pays off. Read more