In 'I Saw the TV Glow,' Justice Smith plays a teen who finds comfort in his friendship with a cool older girl and the television show they both love.

Astonishingly beautiful and vulnerable, I Saw the TV Glow's surreal art-horror speaks to lonely teenagers, past and present.

I Saw the TV Glow might be the most important movie you see all year. Here's our review.

I Saw The TV Glow review: Jane Schoenbrun's electric film reaches through the screen and never lets go

I Saw the TV Glow is an eerie, reality-bending allegorical horror that unnerves and mesmerises.

Two misfit teens bond over an uncannily formative fantasy series in Jane Schoenbrun's strikingly styled not-quite-horror film 'I Saw the TV Glow.'

Jane Schoenbrun's sophomore feature is an unnerving take on loneliness, isolation, and the enduring mysteries of children's media.

The trans community has embraced the film as an analogy for transition

Jane Schoenbrun’s stunning second feature is both a horror-inflected story of teens fixated on a Buffy-esque TV show and a haunting trans allegory

NOW IN THEATERS! Your multiplex may now be hosting the multi-perplexer of the year with the beautiful baffler I Saw The TV Glow, written and directed by intriguing auteur Jane Schoenbrun. It starts in 1996 on election night at Void High School, where 7th grader Owen (Ian Foreman) is there with his mom, Brenda (Danielle

A mysterious late-night TV show unites two disaffected adolescents in Jane Schoenbrun’s haunting, 90s-set allegory

Finally being released on UK shores, Jane Schoenbrun’s celebrated follow-up to ‘We’re All Going to the World’s Fair’ is about how art can sometimes know us before we truly know ourselves

Jane Schoenbrun’s hypnotic new film shows high-schoolers Owen and Maddy grappling with their identity while trying to escape their town

Story is set in the 1990s and centers on two TV-obsessed teens.

Jane Schoenbrun confirms their place as a superbly gifted film-maker with the weirdly wonderful story of two misfits finding solace in a creepy TV show

Jane Schoenbrun’s ‘I Saw the TV Glow’ is an enveloping, confounding film about isolation, gender transition, and ‘Buffy the Vampire Slayer.’

Jane Schoenbrun's followup to We're All Going to the World's Fair has been hailed as a breakthrough cinematic treatment of gender dysphoria. Maybe so, but it's a good enough piece of art to bear multiple interpretations; for your humble correspondent, it played as an almost shockingly effective evocation of How Things Felt, back before the internet made cult followings into malignant mobs, and more importantly, back before we — the collective we — put aside childish things and let adulthood take hold. Before the mundane obscured the magical. Maddy and Owen are miserable middle-schoolers: she because Dad is hot-tempered and violent, he because Dad is cold and controlling. The two bond over and take comfort in watching The Pink Opaque, a show that is supposedly for kids, but is also way too complicated and creepy for that to be true. The show's heroines are up against big baddie Mr. Melancholy, a moon man whose chief weapon is self-forgetting. Hardly the enemy of children; more like the enemy of childhood. After the show gets cancelled, Maddy disappears; her reappearance years later forces a reckoning. What she says upon her return is impossible, what she asks is terrifying. And yet. Owen says early on that he knows something is wrong with him, and Justice Smith's off-kilter performance makes that clear. Whether it's anything more than simply being a person is less so.

Two misfit teens bond over their love for a cult 1990s show in Jane Schoenbrun’s assured allegory “I Saw the TV Glow.”

The lush details of Jane Schoenbrun’s imagination do not dictate the form of 'I Saw the TV Glow.' They overwhelm it

Richard Brody reviews Jane Schoenbrun film “I Saw the TV Glow,” which explores themes of trans identity, television obsession, and teen-age loneliness.

"I Saw the TV Glow" is a shock to the system with its originality, according to one critic.

Justice Smith and Brigette Lundy-Paine in director Jane Schoenbrun’s latest.

Esto es lo que puedes esperar de ‘The Fall Guy’, ‘I Saw the TV Glow’ y más películas nuevas en la cartelera

It's equal parts psychological horror film, 1990s TV nostalgia trip, coming of age story and dysphoria allegory.

...has a welcoming weirdness that communicates in a subliminal way.

Jane Schoenbrun's 'I Saw The TV Glow,' with Brigette Lundy-Paine and Justice Smith among other is a modern masterpiece of self-actualization.

Jane Schoenbrun's horror-drama "I Saw the TV Glow" is entertaining yet depressing, surreal yet too real, and frustrating yet somehow cathartic.

The earworm original soundtrack, exciting practical effects, intoxicating photography and risky editing—blending together conscious and imagined worlds—are the big, adventurous swings of an undaunted filmmaker. 

"I Saw the TV Glow," the new movie from "We're All Going to the World's Fair director Jane Schoenbrun, is a masterpiece of media commentary.

Movie review, 'I Saw the TV Glow': Though it teases at the supernatural, most of the horror is existential. It's creepy, but disappointing.

Jane Schoenbrun’s sophomore film is a haunting, and heartbreaking exploration of the adolescent pains that come with figuring out who you are and who you cannot be

Jane Schoenbrun’s followup to ‘We’re All Going to the World’s Fair’ is a profound must-see.

Jane Schoenbrun’s second feature is an imaginative trans allegory and shattering, funny media critique.

The unsettling new quasi-horror film I Saw the TV Glow, starring Justice Smith, features a lot of Buffy the Vampire Slayer references for a reason.

Filmmaker Jane Schoenbrun's addition to the midnight-movie canon starts with a shared love of a TV show — and then goes down the fandom rabbit hole.

Buffy the Vampire Slayer and Twin Peaks collide in a sparky, surreal coming-of-age story

A24’s midnight title is a haunting evocation of childhood TV obsessions

With influences ranging from David Lynch to "Buffy," "I Saw the TV Glow" is a brilliantly bizarre horror drama about sexual identity and nostalgia.

Jane Schoenbrun's latest film is not just one of the most original American films of recent memory, but the best of the year so far, writes our reviewer.