Critic Reviews

Veni Vidi Vici is doing a lot, but the filmmakers make it all work. Their strict control of the comedy hits the perfect dark tone. The cast is tons of fun, while the writing is a sharp takedown of politics and power in modern-day Austria.

Veni Vidi Vici is like a piercing scream into the void, daring you to truly process what it’s telling you for fear you might fall victim to its apathy next.

What’s most admirable about Veni Vidi Vici is that Hoesl and Niemann avoid being too obvious about satirical moments.

Overall, though, the stylistic consistency and sustained chill of the black comedy make for a satiric focus far keener than, say, the farcical overkill of Triangle Of Sadness.

The film’s humor is a clenched-fist assault on runaway greed and systemic corruption.

Capitalism, as depicted here, is inherently sociopathic. As the murders continue to claim ordinary middle-class folks, audiences can’t help but find themselves on edge, bracing for the sniper’s next attack.

Aesthetically detached, clinical, and with murderousness always happening in broad daylight, Veni Vidi Vici might arguably be more clever than laugh-out-loud funny or insightful. Still, some of the facetious formalism goes a long way.

It’s never as deep as it thinks it is (or has the potential to be), but as long as you go in simply wanting a nasty, gorgeous, unhinged ride, you’ll leave the rollercoaster satisfied — and probably a little nauseous, too.

Although handsomely mounted and occasionally chilling, it’s the cinematic equivalent of a one-note tweet.