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Soderbergh’s premise is no mere gimmick. Working with a script by David Koepp, he infuses his dramatic mechanism with substantial themes... With “Presence,” Soderbergh, a true believer in genre, acts like a true believer in the mysticism that this movie’s particular genre depends on.

Soderbergh’s Presence combines the director’s ongoing formalist ambitions with stripped-down, boilerplate genre theatrics. The story may be familiar, but there’s nothing familiar about the way he’s shot it.

It’s not in itself a problem that Presence does not offer nuanced characterizations or plausible plot turns... More of an issue, ultimately, is that the film does not maintain a baseline naturalism of staging and performance that its conceit requires. All the same, Presence is an invigorating experiment.

It’s always fun to watch a master filmmaker challenge himself, and the craft here really is impeccable, but between its predictable plotting and pro forma exploration of everybody’s favorite new elevated horror theme—say it with me: trauma!—Presence feels like a limber but limited exercise in cinematic problem-solving rather than a genuine experiment in terror.

While the out-there concept invites a host of tantalizing possibilities, the film’s adherence to conventional and uninspired plotting sees Presence fall into a blasé middle ground... [It is] a pro-forma doodle, a time-killer until a project comes along that really inspires Soderbergh to flex his muscles.

Chilling in its freewheeling camerawork and unexpectedly heartbreaking, Soderbergh’s latest (written by the unrivaled David Koepp) both takes us back to the timeless cinematic basics of sad ghosts with unfinished business and delivers something formally fresh that renews the supernatural genre.

While [Presence] feels nailed on as a technical exercise, the story, written by David Koepp, feels slight by comparison. Perhaps that’s because of the ambiguity of the ghost, which quickly seems to be a rather benign presence rather than the spooky danger you might expect.

[Presence] unfolds deftly, not without a sense of humour, until a horrific clash with the great beyond becomes unavoidable.

Hollywood’s premier digital experimentalist has only dabbled in horror a few times before, but where [Presence] stands apart on his résumé is that it’s also a work of unsettling spiritual reckoning in the guise of a goofy midnight-movie romp.

As an experiment, [the film] remains of interest, something to be filed away as a curious technical exercise, and Soderbergh operating at a lower level is still higher than many of his peers. [Yet] Presence just never fully comes together in the way we hope.

“Presence” offers further evidence (as if it were needed) that Soderbergh has never shaken off his restlessly experimental edge. Deploying lightweight digital cameras and a seamless mix of visual effects and old-fashioned stunt work, he remains American independent cinema’s great problem solver, someone who approaches each movie as a logistical puzzle and sees aesthetic and financial limitations as creative enablers rather than deterrents.

[Presence is] among the most personal works Soderbergh has ever made... In front of the restless camera, an absorbing tale of spectral haunting and familial undoing plays out with tight precision. But how he documents this ghost story has a way of revealing the man inside the machine like rarely before.