The interior of Gray’s apartment is designed to look like a museum, a cold receptacle that does not seem to allow for a human presence. Hurd Hatfield gives a performance of dreamlike roboticism, as if controlled by joystick off-screen, his voice an uninflected monotone. It is incredibly bold to have a void at the center of your movie, but Lewin seems to push Hatfield more and more into nothingness, until all that’s left of him are those improbably high cheekbones.
R. Emmet Sweeney
December 16, 2014