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Grimly hilarious, this mashup of black comedy, social commentary, suspense, and horror is sharp and stinging, with a haunting gut punch of a finale… and it’s Yorgos Lanthimos’s most accessible film yet.
Pretty young people are sad about the end of everything, but there’s no urgency and little emotional authenticity to any of it. We’ve seen this before, pulled off with far more affecting feeling.
Immerse yourself in pure unalloyed joy with a sweet, deceptively simple carbon-silicon platonic romance. Even the poignant bittersweetness of this emotional roller coaster is affirming and uplifting.
Hooray for Glen Powell’s star rising, but this absurdly coy movie — is it a sequel? a remake? — is a cowardly, reckless missed opportunity: it’s deeply baffling that it omits any hint of global warming.
A mad monstrosity of a movie: absurdist, enigmatic, perverse. Lanthimos’s typical grotesque humor is on full display. Yay for a film that actually attempts to capture how insane the world is today?
It exists safely within the vast subgenre of postcollapse afterscapes, but it does what it does well, with nicely drawn characters, a sense of cultural mythmaking, and freakishly unsettling creatures.
A spineless dystopian action drama that defaults to a dangerously irresponsible both-sides-ism; its pretense of “objectivity” is unfair to the journalist protagonists the film thinks it’s championing.
Ugly, outrageous, brutal, and cynical; a genuinely terrifying film about power and politics as religion and control. There is little escapism here; hits square in the social plexus of horrifying 2024.
It looks amazing and the cast is fab, but while this could-happen-tomorrow story wants to appropriate the magic of science fiction, it fails to think imaginatively about longstanding human problems.
The king of all monsters gets a period-piece reboot, and it’s the closest the series has gotten since to the sincere, unironic horrors of the 1954 original. No comfy escape from terrible reality here.
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