Matt Brown’s review published on Letterboxd:
Just give me 90 minutes of Sarah Paulson and Toni Collette yelling "I AM YOUR MOTHER" at each other with different levels and intonation until we slowly fade to black.
We've seen the basic premise here before in other stories, both true and fictional, but this film has a solid ability to let a story best reach its finish, and instead of wearing it thin like many thrillers do, this simply finds a new obstacle or twist to keep itself going, but never betraying what we know to be true.
I could watch Sarah Paulson cry and scream in a different wig every year for the rest of my life, but the film lies on newcomer Kiera Allen. I think we can put the "we simply cast the best person for the role" argument of not casting disabled people finally to bed with her. She sells every every emotional beat, every frustrating obstacle, evert devastating twist and betrayal with a real authenticity, no matter how outlandish the scenario. Not to mention I noticed the way she thrusts herself backwards in the chair without a thought or zips around corners with ease. The authenticity matters here.
I was just expecting 90 minutes of Sarah Paulson doing her thing and scaring the shit out of us, but I wasn't expecting the way this movie would grip me.