The film’s tableaux are impressionistic in ways that recall Claude Monet’s plein air landscapes.
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The film is a ghostly travelogue through a land ravaged by war and natural disaster.
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The more the film diverges from Kurosawa’s, the more confident and distinguished it becomes.
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The film is perhaps Joachim Trier’s most mature and emotionally complex work to date.
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The film recalls the themes of Rebecca and the temporal displacements of Alain Resnais’s work.
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The overriding suspense here is largely created by watching truth become negotiable.
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The film is mostly memorable for its depiction of a city gradually hollowing itself out.
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The film is efficiently orchestrated, but its storytelling is remarkably leaden and incoherent.
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With the R-rated canine comedy Fixed, Genndy Tartakovsky is off the leash.
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For every moment of electrifying horror, the film cleanses the palette with comic relief.
The post ‘Weapons’ Review: Zach Cregger’s Eerie, and Disarmingly Funny, Horror Freak-Out appeared first on Slant Magazine.