Decision to Leave (2022)

Ehrlich calls it an unexpectedly romantic procedural whose restrained approach still delivers a deeply affecting finale. He praises Park’s precise editing and staging, while noting that the technology-driven plot and complicated third act can feel overworked.

Chang finds the film an invigorating, despairing love story and a luxuriant romantic noir. He especially praises Park’s inventive visual style and Park Hae-il and Tang Wei’s performances.

Keizer praises the film as an intricate, restrained, and probing drama, though its tragic ending feels more intellectual than emotional. He singles out Park’s visual inventiveness and the leads’ finely calibrated chemistry.

Bradshaw gives the film a strongly positive verdict, calling it gorgeously made and gripping. He particularly praises Tang Wei’s magnificent performance and the film’s suspenseful, consistently surprising storytelling.

Rooney finds the film intoxicating and praises Park as a world-class artist at the top of his game. He singles out the leads’ smoldering chemistry and the film’s ravishing visuals, especially its striking compositions.

The critic calls it a tremendous, sophisticated erotic thriller and praises Park’s inventive visual storytelling. The middle section occasionally feels baggy, but Tang Wei’s mesmerizing performance and the film’s precise camerawork stand out.

Newland praises the film as absorbing, enigmatic and masterful, with a hypnotic rhythm. She singles out Park’s precise editing and his ability to make tiny visual details feel charged with meaning.

Lane finds the film an astonishing and persuasive romance, whose elaborate mystery ultimately brushes against tragedy. He praises the visual wit and forensic precision of Park’s imagery.

The review calls the film a masterful, dazzling love story wrapped in a mischievous murder mystery. It especially praises the expressive camerawork and the leads’ subtle, compelling chemistry.

Strong presents the film as an intimate, sumptuous romance whose mystery keeps its emotional cards close. She particularly praises Tang Wei’s magnetic performance as Seo-rae and the film’s morally complex characters.

Copeman finds the mystery exquisitely made and Hitchcockian in spirit. He especially praises Tang Wei's performance for its depth and intrigue.

The review finds the film a woozily seductive murder mystery. It singles out Park Chan-wook’s slowed-down, spellbinding approach for praise.

The critic finds the film an intoxicating, achingly romantic neo-noir, though its second half loses momentum and it feels too long. They single out the elegant visuals, evocative score, and sophisticated costumes for praise.

The critic presents the film as a notably romantic entry in Park Chan-wook’s filmography. The standfirst singles out its epic detective story and romantic emphasis.

The standfirst presents the film as a seductive neo-noir. It singles out the blurred lines between detective and suspect as central to its appeal.

The critic finds the film’s image-rich, ambiguous approach largely successful, despite a drifting final third. Tang Wei’s magnetic performance is singled out for making an enigmatic character compelling.

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Bowen finds the thriller pointlessly overcomplicated, leaving its emotional story inert. He praises the beauty of a beachside disappearance, though he says the film does little to make its tragedy meaningful.

Ebiri finds the film fragmentary and emotionally distancing, though its haunting finale nearly saves it. He especially praises Tang Wei’s layered, captivating performance.

The review praises the film as a consistently accomplished work of filmmaking. It singles out Park Chan-wook’s visual inventiveness and the sensual chemistry between the two leads.

Bonaime praises the film as an accomplished blend of romance and mystery. He especially singles out Park Hae-il and Tang Wei for conveying powerful feelings through quiet, restrained performances.

Nayman finds the film a controlled, absorbing high point in Park Chan-wook’s later work. He praises how its restrained visual style serves the story’s uneasy blend of mystery and romance.

Worthington finds the film a captivating, inventive take on a romantic crime thriller. He especially praises Park’s inventive camera work and Tang Wei’s precise performance.

Robinson finds the film a sophisticated, satisfying portrait of obsession and regret, despite its less dynamic procedural story. She especially praises how its quiet character details gradually reveal the leads’ feelings and deepen their relationship.

The headline presents the film as an elusive, alluring romance. It highlights Park Chan-wook’s conjuring of seductive illusions.

The critic finds the film difficult but ultimately rewarding, with an ending that lingers in the mind. She praises its intricate psychological romance and the way desire emerges through the characters’ intellectual conflict.

The critic calls it an extravagant, hopelessly romantic thriller, though not Park Chan-wook’s best work or a masterpiece. She praises its lavish visual style and yearning romance, while noting that the excess can overwhelm the film and leave it feeling as if something is missing.

The critic finds the film fascinating and exquisitely directed, though less surprising and innovative than Park Chan-wook’s earlier work. They praise the palpable chemistry between the leads and the director’s skill at building tension through staging and visual composition.

The critic finds the film intriguing and addictive, though some twists do not strengthen its narrative. They particularly praise its stunning, inventive cinematography.

The critic finds the film gorgeous and richly dramatic, though at times confounding and emotionally uneven. They praise Park’s intricate, visually striking filmmaking and its ability to make ordinary settings feel alluring.

The critic finds the film uneven but ultimately recommends it, largely for its stellar first half. She praises Tang Wei’s performance and the leads’ subtle, compelling dynamic, while faulting the latter half’s pacing and emotionless conclusion.