Jude Law channels swaggering disquiet, resembling both the tormentor and tormented of a Harold Pinter play.

As a statement on a decade of consumerism, The Nest doesn’t have anything particularly new to say, but as a fable of familial dysfunction, it’s resonant and, yes, frightening, with nary a ghost in sight.

Alison Willmore

New York Magazine (Vulture)

Writer-director Sean Durkin (Martha Marcy May Marlene) has delivered a nearly perfect film here — the cinematic equivalent of of those substantial, long-but-not-too-long short stories that says everything about its subject without actually saying everything.

Matt Zoller Seitz

RogerEbert.com