Christian Blauvelt of
IndieWire graded the film a B, writing, "What's so thrilling about
Sharp Corner, Jason Buxton's atmospheric descent into madness, is how strongly it refuses to explain itself. There are a lot of different readings you could apply here, but there's still a pervasive novelistic ambiguity that defies any one interpretation."
Matt Zoller Seitz of
RogerEbert.com gave the film four out of four stars and wrote, "Apart from its meticulous deconstruction of a family coming apart,
Sharp Corner is memorable for its thoughtful compositions, which put a lot of information into each frame at different planes of distance and let us decide where to look. The camera moves a lot, but mostly slowly, and always for a reason: to reveal or conceal something, or fill us with anxiety.
Guy Godfree's cinematography has a mid-'70s American New Wave feeling. It's rich and clear even in dark scenes, but never ostentatiously beautiful. Every shot is about making you feel as if you live in this little world." Kristy Puchko's
Mashable review concludes: "Focused so intently on the inner turmoil of its ego-ravaged hero,
Sharp Corner is leanly executed. But Buxton and Wangersky seems to lose faith in their audience in the second act, offering a sequence where a psychiatrist basically spells out what Josh is going through (though she's not knowingly talking about him). Despite this detour, the finale regains momentum. Ultimately, a smart premise is poignantly brought to life by Foster and Smulders, making for a psychological thriller that is nerve-rattlingly tense and a family drama that is unapologetically gutting." ==References==