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Ostensibly a movie in the same way that a Victorian folly is ostensibly a Japanese temple or a medieval castle. That is: not at all. Like a themed high-school prom from 1994, and an accidental horror.
Dull, earnest fanfic full of halfhearted secret-agent shenanigans and a misguided rethink of Chamberlain the appeaser. Same-old rote, by-the-number World War II–ing we’ve seen countless times before.
Everything about this astonishing, just-plain-satisfying film feels like a revelation. Bone-deep subversive yet universal, dripping with a quiet dread yet also beautiful and beautifully wise.
I laughed a lot while also feeling sick to my stomach. As subtle as a sledgehammer, almost obnoxious… and yet it might as well be a documentary. Is it elegant? Is it art? Who the fuck cares?
An ultra-low-budget marvel, a perspective on societal disruption and disorder as everyday precariousness comes for those previously sheltered from it. Barely speculative, maybe terrifyingly prescient.
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.
An electrifying work of high-wire cinematic theater, a one-take, one-location wonder. Documentary-esque but even more immediate, simultaneously intimate and explosive. Stephen Graham is glorious.
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.
The deep, honest emotion undercutting the performative toxic masculinity of these young men is beyond charming and vitally essential, but the melodramatic randomness of the plot ultimately lost me.
Monumental. Villeneuve tells a familiar story with uncommon elegance and pensiveness, even dreaminess, on a breathtaking scale. A stunningly gorgeous, supremely dignified movie about ugly things.
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