Metacritic reviews

Holmes and Dale are ideal together, turning a polite courtship and charged relationship (including a sex scene that's both giddy and profound) into a twisted, compelling expression of unconditional love.

Holmes’ performance helps Miss Meadows considerably: It’s so relentlessly upbeat and deliberately artificial that it admits no cynicism or judgment, and it makes the film daringly weird.

Writer-director Karen Leigh Hopkins has lots of fun with this surreal set up, and only really loses the thread when reality intrudes.

It exists somewhere between serious character study and satirical fish-out-of-water story, never figuring out which it wants to be.

Perhaps Karen Leigh Hopkins's intent was to subtly suggest the surreal aspects of the story, but ultimately she underplays her hand.

An eventual retreat into conventional thriller terrain isn’t managed with much panache or tension, and a limp happily-ever-after sequence underlines the pic’s failure to make very much of the twisted-fairy-tale aspect that is its most distinctive element.

The dark comedy (punctuated by the catchphrase “Toodle-oo”) doesn’t always come off, and the filmmaking is more off-kilter than necessary, with capricious camerawork and pacing.

When writer and director are one and the same, there’s always a risk that the project will suffer from a lack of perspective. Indeed, in helming her blackly comic indie Miss Meadows, Karen Leigh Hopkins fails to fulfill the potential of her own script.

Director-screenwriter Hopkins is unsuccessful in navigating the absurd storyline’s jarring tonal shifts, with the result that this kinder, gentler variation on Ms. 45 mainly emerges as off-puttingly bizarre.

What makes Miss Meadows egregiously awful is that it has no perspective whatsoever on vigilante justice. As an ostensible work of satire, it lacks bite, never truly questioning or complicating its heroine’s actions; the film isn’t even outrageous enough to be appalling (which paradoxically makes it appalling).