Austin Chronicle

As Bauman falls deeper and deeper into the mysteries of Bilberry Inn, McCarthy masterfully reminds us that a ghost can be real and a metaphor, as the scares demand.

It’s an electrifying watch in its profound discomfort, and a testament to McKenzie’s ability to disarm with a smile, then land a righteous blow against the bad guys.

Mārama is arguably at its most effective as a political text when it isn’t trying so hard to be part of the heritage that includes Hitchcock’s Rebecca and del Toro’s Crimson Peak.

The tonal disconnect between the subtext and the delivery leaves this Animal Farm wobbling like the first time Napoleon tries to walk on two legs.

Lowery may have dealt with the uncanny in A Ghost Story, but the whole point of that film was the mundanity of the afterlife. This is a truly supernatural tale, and the storytelling transitions into his version of horror, abstract and oblique.

It’s an adept translation that is in turns bloody and cruel, insightful and hilarious, and, under the plentiful gore and uproarious laughter, a surprisingly touching drama. Just one with slapstick bloodbath tendencies.

Exuding direct-to-Redbox energy, Fuze has enough plot twists to make it watchable. You’re just not liable to remember much of it afterwards.

Much of the fun of The Christophers – and it is very fun – is in anticipating the hitches, then startling when they snag left rather than right. The delight is in watching Coel and McKellen play off each other.

Any SNL fan, and I am one, is still going to get a kick out of the close access and cavalcade of stars like Tina Fey, Chris Rock, John Mulaney, Paula Pell, and Paul Simon giving testimony. By dint of that access, Lorne is by definition revealing. Revelatory? Not as much.

It may well be that Ozon has made the best possible conventional adaptation of the book. Yet maybe it requires a more unconventional touch to truly translate Camus’ point.