This is one intense and unsettling film that is beautifully done. Anton Yelchin is definitely a talent gone way too soon. A true horror film that expertly showcases the true horrors that people are capable of when they feel threatened and their livelihood is at stake.
I just wanted a straight-up survive-the-night exploitation movie w/ some PNW scenery, but: it didn't generate very much urgency or suspense, mostly because it's wildly implausible (which I normally don't care about if the film is made well); and despite what many reviews say it's badly photographed -especially during crucial scenes of violence/suspense. You can't tell what's happening half the time.
full of surprises, and one of the most violent and tense movie i've seen from a very long time, i'd like to see more of the director, he seems nuts (on a good way), specialy if he stays on this genre, tarntino himself would be a jelous.
LOVED the atmosphere; Patrick is a king; I'm loving Imogen more and more each role she gets; Anton is a gem. One of the nicest people I've met. We've lost too many great ones already, too soon. It was a pleasure. You'll be greatly missed ♥
What an absolute nailbiter. Saulnier's brilliant monochrome follow-up to "Blue Ruin" (here's hoping he goes for a violent-Americana Three Colors trilogy) is a superbly-acted, methodical slow-burn that actually earns moments of confronting horror. Will leave even the most jaded genre buffs scared silly. We lost Yelchin too soon; he's amazing here.
Starts off really well and manages to earn it's street cred in the punk/hardcore scene before ripping the carpet from the unsuspecting viewer with the first piece of violence. By the half-way point it degenerates into a predictable, kill or be killed, by-the-numbers genre flick. The main problem lies with the scripting of Nazi leader Darcy and the motives of the nazi-punks. The gore VFX are superb. 2.5 stars
Points for the score and some beautiful camera work. No points for the cheap tension, painful dialogue, and lazy arc. The villains were hollow duds, no two ways. Saulnier provides no reason for them even being "neo-Nazis", nor does he capitalize on the most interesting moments of the film. Not to mention the design was a complete mess. Utter disappointment. Did he simply Google skinheads and punks and make a movie?
A potent thriller that may descend at points into a paint-by-numbers "hack-and-slash" but it still has a distinctive lo-fi spark thanks to Jeremy Saulnier (Blue Ruin) whose clinical directorial traits raises this above usual genre fare. If only there was a longer exposition exploring this punk band on the road. Loving the 'Fugazi' and 'Dillinger Escape Plan' band stickers and the 'Nazi Punks Fuck Off!' opener.