George Sluizer's film is structured as a mystery-thriller, but there's ultimately very little mystery and few conventional thrills, and so the blunt, dead-stop of the anti-climax subsequently carries an implicatively existential weight. The narrative's refusal to provide any catharsis, either terrible or joyous, carries a hint of perversity that appears to point toward godlessness, if not of proper life, then at least of cinema.
Chuck Bowen
October 28, 2014