So much stuff here I want to love. I like the actors (though I cannot delineate the major flaw of Nadia Hilker without dropping spoilerage), premise full of possibility (though tricky), and chunks of the screenplay are good. However, the thing just dies a thousand deaths in the execution: looks awful, cut together horribly, bad mise-en-scène, and no idea how to move people through space. It's mostly on the directors.
Spring superbly blends its monster-movie elements into the background of a sweet and touching romance. It does this through appealing lead actors, ravishing photography, intriguing location work, and astute dialogue recalling Swanberg or Linklater. It's fascinating, tender, and another stunner of the modern transcendental horror-art canon. Love isn't a monster, yet we must accept our partner's faults for it to work.
This is filled with ups and downs. Visually, it's an amazing postcard of the Italian coast... Damn I'm wishing so badly to go there someday. All the bugs and somewhat macabre frames were nice too. But then the monster story got weak because they tried to explain it and provide some sort of scientific justification to something that should have remained a mystery. Also... killing men is OK, but kitties and bunnies?!
Spring feels like a hybrid of a romance and a travelogue with the tiniest bit of monster flick mixed in for good measure. There are moments of fresh, truthful dialogue and an attempt to examine the perception of identity which play quite well. The visual aesthetic is a bit raw and feels at odds at times with the storytelling but overall it all feels quite fresh. 3 stars
Bright, beautiful Italy has many compensations for a story lacking in likeable, well-drawn characters, attractive mise en scene, or a sense of direction in terms of either plot or character development. But the ending is an unexpected moment of undisguised joy, which elevates the film above the turgid horror genre it had hitherto seemed to inhabit.