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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.
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.
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.
An apocalypse unlike any onscreen before. A film often almost unbearably tense, in part because it audaciously reconsiders the role sound plays in eliciting our emotional response.
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