Opiniões dos críticos

“Foe” presents a spectacle of futility. Not the climate change disaster itself, which is tangential to the plot, but the sight of great actors throwing themselves into this material, as if they were slogging through a Tennessee Williams marathon instead of the equivalent of a distended “Twilight Zone” episode with an aesthetic that might be described as “Dorothea Lange filter.”

Listless, lifeless, [and] damn boring... Foe knows the tale it wants to tell. But because of the often mannered, occasionally stagy way that it ends up telling it, this is a movie that has a tendency to be its own worst enemy.

Foe fails to hold together on a scene-by-scene basis or achieve even the most generous interpretation of coherence... Can you find happiness with a copy of your lover feels a little beside the point when you’re questioning whether the filmmakers have ever even interacted with another human being before.

“Foe” stumbles rather spectacularly by leaning more on melodrama than logic and choosing cliche over originality. Aside from rehashing tropes and offering some laughably bad moments, the film accomplishes little.

Garth Davis’ Foe is paradoxically about too much and too little. It’s a film whose genre trappings remain frustratingly discrete, not necessarily melding science fiction with romance as much as smashing them together to see if they’ll cohere... [The film gives] the most vociferous critics of Steven Soderbergh’s adaptation of Solaris a new cinematic pariah to denigrate.

[Foe] feels more remote and repetitive than provocatively alien... There’s plenty of ambition and talent, but without the crisp engine of story, it’s as dry as 2065 dirt.

The film is imbued with a thick, unhurried atmosphere, the characters and narrative moving languorously, as if through treacle... Garth Davies maintains a palpable air of tension, helped by three well-balanced performances.

While Ronan and Mescal are charismatic throughout, their individual and joint magnetism only takes the proceedings so far. Its late melodrama overcooked and self-conscious, Foe proves to be its own worst enemy.

Garth Davis’s Foe not only fails to adequately redress or rework played-out tropes within its high-concept world, but its examination of marriage and identity is also hackneyed... [The film] feels Frankensteined together, each limb a reminder of more heartbreaking, wondrous, or sophisticated works.

Like its characters, “Foe” itself often seems as if it’s stalling for time... The movie’s final stretch reveals a satisfying and non-judgmental method to its madness, but much of the journey there feels as frustratingly elusive to watch as it would be to live through.

Foe represents a swing and a miss by Davis... It becomes a mess of concepts, issues, and messages, an amalgamation of errors in tone and story. As the film reaches its supposed peak, it actually becomes Foe’s undoing, the final time audiences can suspend their disbelief.

The trouble with the movie is that once you’re confronted with [its] surprise, and you think back over what you’ve been watching, it makes even less sense. By the end, we dimly perceive the outlines of a message, though it’s not exactly a profound one.