Critical response Safe received positive reviews from critics.
Rotten Tomatoes reports 88% approval based on 67 reviews. The website's critics consensus reads, "
Safe's eerie social satire and somewhat sterile stylization is balanced by comedic undertones and an impressive, understated performance from Julianne Moore." The film also holds a score of 76/100 on
Metacritic.
Janet Maslin, writing in
The New York Times, lauds the first half of the film, but concludes that, as "brilliantly as it begins,
Safe eventually succumbs to its own modern malady, as the film maker insists on a chilly ambiguity that breeds more detachment than interest ... Mr. Haynes makes fools of ... [the film's] New Agers while possibly embracing some of their views." Another problem, according to Maslin, is that "the shadow of AIDS implicitly hangs over …[Carol's] decline, but it doesn't help bring
Safe to a conclusion worthy of its inspired beginning." The ending of the film is highly ambiguous, and has created considerable debate among critics and audiences as to whether Carol has emancipated herself, or simply traded one form of suffocation for an equally constricting identity as a reclusive invalid. Julie Grossman argues in her article "The Trouble with Carol" that Haynes concludes the film as a challenge to traditional Hollywood film narratives of the heroine taking charge of her life, and that Haynes sets Carol up as the victim both of a male-dominated society, and also of an equally debilitating
self-help culture that encourages patients to take sole responsibility for their illness and recovery. Carol's illness, although unidentified, has been seen as an analogy for the 1980s
AIDS crisis, a similarly uncomfortable and largely unspoken "threat" during the
Reagan presidency.
Accolades Safe received seven votes in the
British Film Institute's 2012
Sight & Sound poll of the greatest films – with five votes from critics and two from directors – ranking it 323rd and 322nd, respectively. The movie was widely critically acclaimed. It gave Moore her first leading role in a feature film and gave Haynes a measure of mainstream critical recognition. •
1996 Independent Spirit Awards - Nominated for
Best Director (Todd Haynes),
Best Feature,
Best Female Lead (Julianne Moore), and
Best Screenplay (Todd Haynes) •
1995 Boston Society of Film Critics Awards - Best Cinematography - Alex Nepomniaschy • 1995
Seattle International Film Festival - American Independent Award - Todd Haynes • 1996
Rotterdam International Film Festival - FIPRESCI Prize Special Mention - Todd Haynes • 1999
Village Voice Film Poll - Winner VVFP - Award Best Film of the Decade ==References==