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An intense, intimate tale of historical illegal abortion, with a central performance of focused terror; a harrowing body horror that looms again. I cannot overstate the absolute urgency of this film.
Stiflingly literal mounting of the classic feminist tale. Flat and stilted, with no cultural context and no visceral insight into its protagonist’s plight, and emptiness where there should be empathy.
Apocalyptically sorta-satirical, bone-deep terrifying slap in the face that humanity has properly earned. Formidable, intense… and funny, in a very dry way that is nevertheless difficult to laugh at.
Elegantly gloomy but ultimately unsatisfying gothic rural horror that is all too-static mood. Tom Hughes makes a valiant go of a descent into madness, but the character is little more than his misery.
Ambiguous, introspective, thoughtful. As weirdly uncomfortable as horror should be, and rarely is, as it examines how these movies can infect us. Niamh Algar is terrific, and deeply empathetic.
Strikingly original horror with a purpose: to delve into the mythologizing of the past, to explore the boundary between cultural appropriation and artistic inspiration, to heed the lessons of history.
As credulous — or con-artist cheaty — as its demon-hunter protagonists, but lacking their charm. Worse, it can’t even be bothered to justify and satisfy the procedural approach to its mystery.
A marvel of a sequel that smartly avoids any attempt to recapture the original, instead expanding its world in every way possible. Brisk, crisp, efficient, and full of masterful sequences of suspense.
Just because a tale is science fiction doesn’t mean that plausibility and cohesion are not required. Yet we can see the narrative strings pulling along the puppet-characters, and in an ugly direction.
A vicious, delicious Hollywood sendup, deconstructing — like a wrecking ball deconstructs — indie filmmaking, cinematic violence, and the industry’s treatment of women. Write what you know? Hoo boy.
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