The Washington Post
The film isn't wholly successful, but what Ward has given us here has both fragility and weight. When we see Toss examining herself in a mirror stashed away in an old car in the middle of a field, her torso bare to the waist, we feel that we are privy to a secret communication that is taking place between the girl and her image in the glass.
There is something devastatingly frank about the way in which Toss' eyes search for information, for some shred of data that might clue her in to the changes happening to her. And afterward, we can't get her features out of our heads. In her face, a soul is laid bare.Full review