The film is about the fraught ambiguities of seeing through a one-way mirror.
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The film dots a sparse thread of plot with mini-masterpieces of cinematic ultraviolence.
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The film is a parable warning against nostalgic attempts to recreate the past.
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The variableness of this movie is the risk of a working method as rapid and intuitive as Hong’s.
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Natalie Erika James’s prequel engages with Rosemary’s Baby purely on franchise terms.
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The actors discuss their physical and philosophical approaches to the self-reflexive tale.
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The film becomes virtually incoherent in a ploy to keep us on the edge of our seats.
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It retreads ideas familiar from time-loop stories without offering anything especially new.
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Cooley winningly takes the robots in disguise back to where they started: animation.
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The film intriguingly plays with our expectations of who the heroes and villains are.
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