Ryland Walker Knight’s review published on Letterboxd:
Immediately impressive, seductive, a whole new style, though somewhat similar to his earlier art films or whatever you call them. Had me from the word “Bus!” The politics and philosophy are woven into the dramaturgy/style, and I didn't know Steve McQueen wanted to make movies this loose. Bring the girls out first on the floor like any party, the guys waiting to let their substance assistance do some work. The sing-a-long to “Silly Games” when they cut the record made me in love. Then the climatic exclusively male expression of what we assume to be the repressed is something I haven’t seen in a long time and what I saw was white and apolitical and not existential. (Lightning Bolt, Brooklyn.) But its Martha’s movie. After all, we watch her leave when the vibe takes a turn and angst takes over. My mom’s been bugging me to watch something with her over FaceTime so I forced her to watch this with me and 30 minutes in she goes “we should Space Cowboys next time.” So she got bored. “It’s so repetitive, Ry.” I didn’t reply because I was, well, entranced by this climax. "What are they screaming for?" "More." The cut to the bike ride, and the composition of the frame, is a flight into a wholly new trajectory. It’s not as corny as “a new day” because nothing’s easy. Of course the guy with the hat and white suit red shirt purple tie and suspenders is a piece of shit. (Not the beanie cousin, he’s just hurt.) Of course the pack of white guys are right wankers. Of course the door man is awesome. And the DJs are too. Yep, it’s true. It’s a party. Captions optional? (My mom did, I did not.) The vibe is the seduction.
Apple Music playlist: https://music.apple.com/us/playlist/lovers-rock-small-axe/pl.u-76oNNkbTNlN19j