It’s the same plot as the first movie, but without any of the emotional weight, character growth, or goddamn common sense.

Much like Darren Aronofsky’s 2017 steaming dump of a film, Mother, Garland has created a film so obtuse and pretentious that it somehow defies disappointment.

I thoroughly enjoyed the first act of the movie and much of the second, but, sweet Jesus, it unravels after that.

This is Rear Window meets Tenebrae.

Picture 2002’s Minority Report mixed with 1993’s Dazed and Confused.

The script for this movie may as well have been written on a cocktail napkin.

And while yes, nothing significant happens for a good amount of runtime and the slow burn gets just to the edge of burnout. it pays off in the end.

The film is a mess of cliches and stereotypes of the slasher genre, but somehow it’s endearing.

In my opinion, this movie was written by AI.

This movie is so bad that it went past so-bad-it’s-good and straight to please kill me so I don’t have to finish watching.

This film is sexy, grimy, and gross.

Loved it.

A bleak, mesmerizing film that lacks the cohesion of the movement it attempted to replicate, and ultimately crumbles under its ambitions.

This film reminds me of one of the most disturbing films I’ve watched, 2007’s The Poughkeepsie Tapes.

There’s a momentum that builds at a fantastic pace, but then crashes and burns in the third act.

I didn’t want the film to end. It sucked me and my viewing partner into a vortex that never really ended until we both fell into a troubled sleep.