Alex Ross Perry's characters are shrewd enough to recognize the irrational contours of their lives, which they diagnose and chew over in some of the most inventive, twisty, and richly ironic dialogue in modern American cinema.
The more microscopic and incidental the movie gets — as in this candlelit conversation — the grander its cumulative force becomes.
The Hollywood Reporter
The unstated angst, desire, suspicion, frustration and emotional turmoil is almost entirely expressed by Keegan DeWitt’s extraordinary musical score, which runs like an underground river through this elegant and supremely expressive gem of a film.
The Film Stage
Considering how Perry intricately carves out the understated instincts of each of these characters, it’s easily his most humane and emotionally complex film.
Many will accuse Perry of navel-gazing here, but that’s partly the point: Golden Exits means to frustrate, even to abrade, in its coolly articulate portrait of cosseted people who want for nothing and vaguely desire everything.
An exquisitely rendered study of entitlement and millennial dissatisfaction.
Golden Exits is an idiosyncratic film about little moments of human pain and loneliness. There’s jealousy, sadness, unfulfilled loves and lives, all of it relayed in quiet conversations and glances, rather than big dramatic scenes.
With his intimacy drama Golden Exits, Perry strays from his typical fare of people behaving badly to, well, people behaving not quite as badly and certainly with more believable motivation.
Only a filmmaker as talented as Alex Ross Perry could make a movie as misbegotten as Golden Exits.
The A.V. Club
If Perry’s last film, the throwback psychodrama Queen Of Earth, used Bergman worship as a jumping off point for its own genre games, Golden Exits is just a tin-eared imitation: Interiors remade as a stilted exercise.