Critics’ reviews

For Those in Peril (2013)

11 reviews from 11 publications. Critics’ score 70: 6 positive, 5 mixed, 0 negative.

Back to our review of For Those in Peril

70
Positive
6
Mixed
5
Negative
0

Most critics respond positively to For Those in Peril, with praise clustering around its performances and its attempts to give grief a visible form. George MacKay receives repeated approval for an understated, emotionally forceful performance, while the coastal setting and inventive imagery help establish the film’s unsettling atmosphere. The more enthusiastic reviews find that its blend of myth and realism deepens the emotion, rather than merely decorating an account of trauma.

Reservations concern how consistently those choices work. Several critics find the film uneven or not entirely convincing, with complaints about cliché, competing ideas and uncertain dramatic momentum. Empire praises MacKay but finds the results only occasionally powerful; The Skinny admires the boldness while questioning the stylistic excesses and muddy metaphors. The spread runs from strong enthusiasm to qualified appreciation, with no outright negative verdicts, though agreement on the acting is firmer than agreement on the storytelling.

Los Angeles Times
2 October 2014 · Gary Goldstein
90*

Goldstein praises the film as a haunting, powerful psychodrama and a must-see for serious filmgoers. He especially singles out its spiritual depth, inventive visuals, and George MacKay’s revelatory performance.

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The Hollywood Reporter
18 May 2013 · festival review · Stephen Dalton
80*

Dalton finds the film haunting, atmospheric, and a very strong debut. He praises its inventive visual textures as an effective expression of the protagonist’s disrupted psyche.

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The Guardian
18 May 2013 · festival review · Peter Bradshaw
70*

Bradshaw finds the film striking and emotionally powerful, though sometimes strained by cliché and too many ideas. He singles out George Mackay’s performance and the tense pub scene as especially effective.

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Variety
18 May 2013 · festival review · Charles Gant
70*

Gant finds the film a visually arresting poetic reverie, though its sustained pull is uncertain. He particularly praises Wright’s evocative depiction of coastal Aberdeenshire and its formally ambitious imagery.

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Evening Standard
4 October 2013 · The Standard
65*

The review finds Wright’s debut poetic but not entirely convincing. It praises George MacKay’s performance and the emotional chemistry between Aaron and his brother’s girlfriend.

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Screen Daily
18 May 2013 · festival review · Mark Adams
64*

The paywall prevents access to the critic’s verdict. The visible text does not reveal what the critic singles out for praise or complaint.

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Time Out
30 September 2013 · ★★★ · Tom Huddleston
60

Huddleston gives the film three out of five, a measured rather than enthusiastic verdict. The available page text offers no specific praise or complaint, but identifies it as Wright’s debut feature.

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Empire
1 October 2013 · Damon Wise
50*

Wise finds the debut well-acted but uneven, with spotty results that are occasionally powerful. He singles out George MacKay’s performance for praise.

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Eye for Film
10 July 2013 · Andrew Robertson
85*

The critic calls the film great and strongly recommends seeing it, though it falls just short of perfection. They praise the performances, especially Kate Dickie’s, and the film’s haunting blend of myth and realism.

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HeyUGuys
24 June 2013 · ★★★★ · Jamie Neish
80

The critic praises the film as an emotionally resonant, nearly accomplished feature debut. They single out its lyrical style and George McKay’s understated performance.

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The Skinny
1 October 2013 · ★★★ · Alan Bett
60

Bett finds the film bold and interesting, despite stylistic excesses and muddy metaphors. He praises its documentary-style footage for making the tragedy of lost young lives feel immediate.

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Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate