On the Rocks

"In the end, how much you love On the Rocks inevitably depends on your affection for the sometimes infuriatingly enigmatic Murray."

"There are some cheerfully amusing moments . . . . But really the banter and the elegance needs some substance in the script and it really isn’t here, or not enough of it, and the serious moments seem glazed in a kind of negligent unseriousness."

"There may be no more fitting snack for a film that exudes casual bon-vivant allure, but is fundamentally nibbles and froth."

"On the Rocks turns into a boozy humanistic hang-out caper movie, one that’s light-spirited and compelling, mordantly alive to the ins and outs of marriage, and a winning showcase for Murray’s aging-like-fine-whisky brand of world-weary deviltry."

"Spun mostly of sugar and air, this film is a lightweight, but mostly sweet, treat – and a lovely reminder of when pictures could just be low-key amusements, and the pandemic hadn’t yet turned cities into ghost towns."

"Lighter and slighter than we may expect from Coppola, On The Rocks is an eminently charming, gorgeous portrait of a daughter, wife and mother finding her way back to herself via the streets of New York City."

"It’s the first Sofia Coppola movie that feels — if only during its flattest stretches — as if it could have been made by somebody else, and yet at the same time it also plays like the loose and tipsy self-portrait of a maturing filmmaker being visited by the ghost of her greatest success."

"There are few modern filmmakers who possess Sofia Coppola’s gift for capturing how our idealized, movie-fed ideas of “night life” reflect our longing for adventure as well as our loneliness."

"On the Rocks is very much a father-daughter two-hander — tender and personal, dryly funny and played to perfection by Jones and Murray. Its effortless touch shows the accomplished, genre-hopping Coppola continuing to expand her range."

"What any of us wouldn’t give for a spontaneous night of rule breaking and lounge hopping with a genuine NY character, like Murray’s, again. Coppola’s funny and slyly emotional film, which should be cherished, is the closest we’ll get to that for a while."