Critic Reviews

[Palermo] demonstrates an affinity for all things ethereal, even as he occasionally struggles to make space for himself in the long shadow of his estimable influences and reference points.

Unfortunately, this austere allegory for the difficult process by which kids start to think for themselves only hints at the turbulence of its characters, who are kept at too far a remove for us to feel their growing pains.

Gorgeous and naturalistic shots by cinematographer by Autumn Durald speak volumes, and the atonal, foreboding score by Nathan Halpern creates a sense of dread, though they are ultimately squandered in an underdeveloped story.

The silent scenes, which hold so much power in the first act, feel emptier and emptier, as the conclusion nears. Moments where Halpern’s score felt like it was adding to what was on screen, turn to moments where it’s compensating for the lack of interest.

Never feels as momentous or as angsty as a good story about moody teenagers should, and that's mostly because the film lacks a menacing parental adversary.

Disparate influences percolate but never quite cohere in Andrew Droz Palermo’s first narrative feature One & Two, which while atmospheric and beautifully lensed ends up being a touch too elliptical for its own good.

The film tries, unsuccessfully, to walk the same eerie, atmospheric trail as “The Village” by M. Night Shyamalan, or any number of Stephen King works.

There are simply too many loose ends to distract us, and too much empty air in which audiences can’t help but poke holes.