Welcome to the Rileys
Provided by Metacritic.com
These are all people you feel you've met before in other movies, if not all at once. But the movie's saving grace is that they don't always behave as you expect them to.
New York Magazine (Vulture)
Ken Hixon's script contrives a lot of mutual-healing set pieces and then sadly but shrewdly aborts them: That makes the drama more Chekhovian than "quite real."
The film wears its heart on its sleeve, but the drama falters when the tone grows over-earnest; additionally, Scott's direction fails to exert a tight grasp on his material.
Rileys has been casually dubbed "Kristen Stewart's stripper movie," but the handle doesn't stick: Stewart may wear skimpy clothes and grind once or twice from the neck down, but from the neck up she's all hollow, bruised eyes, twisted little mouth, and classic, coltish K-Stew rebellion.
The Hollywood Reporter
The movie never overcomes the triteness of its premise.
Try as Stewart might, she can't turn this Manic Trixie Nightmare Girl into a real person.
Despite its good intentions, this earnest little film seems embalmed.
The A.V. Club
The bluntness wouldn't be so oppressive if the film weren't so austere and glacially paced: Welcome To The Rileys is way too humorless.
Only Leo, always a dependable supporting actor, turns her character into something resembling a three-dimensional person. Watching her tentatively reconnect with her maternal instincts is a welcome surprise. Everything else here just feels like another descent into mediocre Amerindie miserablism.
Nothing short of preposterous, Jake Scott's film imagines a grieving couple (James Gandolfini and Melissa Leo) who play surrogate parents to an underage stripper ("Twilight's" Kristen Stewart) and spins it for the "Blind Side" crowd.
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