Jane Schoenbrun’s debut is a brilliantly eerie study of a lonely teenager who takes part in a viral challenge.

| Original Score: 4/5 | Sep 18, 2024

For the most part, We’re All Going to the World’s Fair is a suitably creepy journey with some memorable imagery, and by the end it warps into something beautiful about acceptance, both of oneself and of others.

| Original Score: 3/5 | Sep 3, 2024

We’re All Going to the World’s Fair is an effective and disturbing horror film. With their DIY digital style, Jane Schoenbrun creates a film that is deliberately paced and unsettling in equal measure.

| Original Score: 4/5 | Jul 25, 2024

It’s not really a horror movie but more like a psychological drama about the effects of a mysterious online video challenge. Anna Cobb gives a compelling performance in this slow-paced movie.

| May 3, 2024

We’re All Going to The World’s Fair is a strikingly original film that for the most part leans heavily into its genre ambiguity to tell a story that is more grounded in the reality of the contemporary teen experience.

| Original Score: A | Apr 26, 2024

We’re All Going to the World’s Fair prefers the space between categories. This position facilitates a unique experience of time, much like the COVID-19 pandemic.

| Oct 4, 2023

We’re All Going to the World’s Fair is depicted in many ways, but the movie itself is being watched and seen by the character and the audience.

| Sep 4, 2023

Unfortunately, the World’s Fair doesn’t amount to its potential thematically and narrative-wise.

| Original Score: C+ | Jul 21, 2023

I feel like I absorbed "We’re All Going to the World’s Fair” at a subcutaneous level and will be feeling its effects for some time to come.

| Original Score: 3/4 | Dec 9, 2022

Part of Schoenbrun’s film is about the internet itself, and the collective stories with which many of us engage, while another part is about how our identity can be affected by our internet experiences. And it even touches on very human online danger.

| Original Score: 4/5 | Nov 7, 2022

Schoenbrun’s ability to capture how these liminal online spaces can change us over time announces an exciting new voice in found-footage and trans filmmaking.

| Oct 27, 2022

Jane Schoenbrun invites you to play a scary game before truly terrifying you after realizing what "World's Fair" is really about. Films like this are why I became a film critic. It’s a film I can’t stop thinking about and one I can’t resist talking about.

| Original Score: 4.5/5 | Oct 25, 2022

It’s thinly sketched and a bit too arty, but Cobb, in her first feature, is harrowing.

| Original Score: 3/5 | Aug 24, 2022

It’s all here and, depending on how you interpret the film’s ending, there is no clear resolution—just discomfort that hangs like an albatross—or Casey’s stuffed toy Po—around your neck.

| Original Score: 4/5 | Aug 14, 2022

Genre-defying, subtly unnerving...

| Aug 5, 2022

The magic here is Shoenbrun’s choice to sit with and face the slippery nature of identity and bring us all along for the ride. If you let it, We’re All Going to The World’s Fair will make you feel like you’re melting into the movie.

| Original Score: 4.5 | Jul 15, 2022

Really believable portrait of inchoate teenage anger.

| Jul 14, 2022

When the history of 21st century screen-life horror movies gets written—or blogged about—Schoenbrun’s inventive cult favorite will warrant its own chapter.

| Jul 9, 2022

If I had to show people five movies to explain today’s youth, I’d show them this, Eighth Grade, Minding the Gap, Spontaneous and The Perks of Being a Wallflower.

| Jul 6, 2022

While the film's premise seems interesting, and its lead performance from a first-time actress is solid, the execution lacks in many ways.

| Original Score: 3/10 | Jun 27, 2022