Provided by Metacritic.com
What it really is is a screwball comedy with a black-hearted center, an energy extremely difficult to capture and maintain, but Healy—as actor and as director—manages to do so.
From one wild mood swing to the next, it keeps us interested with aplomb, with Mike Makowsky’s script never lingering too long on any one element, the better to keep the pace brisk, and unpredictable.
Healy’s good; Schilling’s superb. Together, they make a hell of a team, he the wide-eyed schlemiel, she the hysterical but thoroughly capable victim who would naturally rather not be a victim in the first place.
We Got This Covered
Take Me is a sunny little daydream about fetishistic domination, spun around one man’s jabby little gender battle. There is a sweetness to it all, as well as an undeniable creep factor.
The Hollywood Reporter
Healy knows exactly the mix of comical bumbling and psychological tension he wants here.
The New York Times
Parts of it work, but the overall package is never really suspenseful enough to have you on edge or overtly funny enough to be a lark.
Schilling and Healy never quite overcome the fact that Take Me is a suspense comedy that simply isn't very suspenseful or very funny and, just as importantly, never finds a thematic through line.
Los Angeles Times
Healy is never able to find an absorbing middle ground in Mike Makowsky’s script, vacillating gratingly between shrill farce and murky thriller that flails its way toward an intended twist-ending that really shouldn’t surprise anyone.
While the film, to its credit, doesn't become a trite morality play, the ending is thin and contrived nonetheless.
The Film Stage
Take Me proves to be a tonal mess with weak comic timing.
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