Critics reviews

At times the improvised dialogue seems too schematic and superfluous, especially in view of such exploratory and observant handheld camera work. Otherwise, though, this is wonderful stuff. In Miller's moviemaking scheme, Harper not being or seeming like an actor is not a problem; it's a solution. The film seems to power itself just by knowing it could not exist without him.

Without calling direct reference to its main purpose, Welcome to Pine Hill represents Miller's interest in exploring a socioeconomic setting unfamiliar to him; the potentially problematic, if well-intentioned, conception of the film is mostly diffused by the power of debut actor Harper, who imbues this small, mostly-meditative tale with gravitas.

Miller's ace in the hole is the hulking, regal Harper, whose round face vacillates between childlike mirth and lung-stomping sadness. His casual charisma not only commands our attention and affection, it sidelines every social or thematic concern to this singular, tentatively aspiring life.