Rhys Bowen Jones’s review published on Letterboxd:
It’s going to linger in your mind for weeks. Like Hereditary before it, it’s not what you think it’s going to be. Sure, it’s disturbing as all hell, but it’s not a horror film in the traditional sense. It’s more of a fairytale that goes to some dark as fuck places and doesn’t shy away from them. It makes you question what you’re seeing, forces you to scan every frame for clues towards the secrets of the commune, and it will gnaw at your mind incessantly.
Florence Pugh is incredible, owing much of her performance to having the world’s most convincing sad face, but she is to die for in this, she carries us into the shared unknown. It won’t explain everything to you, but in that way, it doesn’t explain it to Pugh’s Dani in any way. She’s as confused as we are and is taken on an unstoppable journey towards a goal that we cannot vere from.
It’s a filmmaker’s dream. The cinematography, the production design, the setting, the sound design, it’s all here and it’s used at its most effective to add to a neverending, inescapable feeing of impending doom. The ball I curled up into during Hereditary appeared again, but for all sorts of different reasons because, for lack of a better phrase, Ari Aster has you in the palm of his hand and he fucks with you. He fucks with your vision, for fuck’s sake. There are so many visuals that will be in my mind for weeks to come.
I wanted more violence. It goes to some violent places but they are in short bursts. But that’s down to my preference. It’s not my film. It’s Ari Aster’s. He executes it beautifully.
The more I think about it, the more I love it.