Critic Reviews

The tension that Franco builds with every scene is crafty and strong, leaving one curious enough to wonder where this narrative is going.

Franco manages to maintain credibility as he ramps up the emotional stakes, creating situations in which the viewer longs to jump into the screen and change the course of events.

Frankly, it’s anybody guess why characters do what they do in April’s Daughter, which may be both realistic and admirably nonjudgmental on Franco’s part, but it makes for a confusing and at times clinical moviegoing experience, as the director applies his detached Michael Haneke-like style to material that begs a certain amount of clarification.

Franco has a hardlined style and a kind of story that play like an apprentice Haneke. However, as each film arrives, the power diminishes, because the stories are now easily predictable.

Minutely observed and framed with great precision, this finally has a few too many characters and twists to become a fully satisfying drama.

What begins as a well-observed, quietly modulated study of teen pregnancy and the strains of young motherhood devolves abruptly into extravagantly nutty soap operatics.