Most critics greet Hope warmly, with praise clustering around Na Hong-jin’s action staging, dark humour and ability to keep a monster chase tense. The reviews repeatedly single out the first hour, where inventive stunts, small-town comedy and production design give the mayhem a setting worth exploring. Performances also earn approval, with Hoyeon singled out, though the choreography and camerawork attract the most consistent enthusiasm.
The reservations concern how long the film sustains that momentum: even favourable reviews find it overlong, with later stretches burdened by repetition and science-fiction explanations. Time Out is cooler, arguing that the early tension gives way to repetitive chases, while The New York Times finds the film more rewarding to consider than to watch despite admiring its craft. Digital effects divide opinion too: several critics find the creatures unconvincing, whereas Deadline praises the motion-capture work. The spread is chiefly between enthusiastic approval and qualified enjoyment.
E
Empire
10 September 2026 · Harry Stainer
85*
The critic calls it the most gonzo film of the year, an insane monster movie whose wild tonal shifts and relentless action sequences make it one of the year's most entertaining experiences. The leads, especially Hoyeon, stand out amid the mayhem, though imperfect CGI is noted as a caveat.
The critic praises Na Hong-jin's big swing into a maximalist monster movie full of breathtaking car, horse and foot chases. It is brilliantly crafted and exhilarating action cinema, though not quite at the level of Mad Max: Fury Road.
The review highlights the rip-snorting creature feature's audacious stunts, fine action filmmaking and dark humour in a small ensemble of incompetent but brave characters. It notes the bonkers charm and eagerness for a sequel despite a late lore dump.
The review calls it a flawed but utterly breathless action spectacle with expert staging, constant tension and comic relief in the first hour. It notes iffy CGI and overlength but says the enjoyable thrill is impossible to deny.
The critic describes a pedal-to-the-metal slaughterfest with breathless pace, gallows humour and exceptional production design in the strong first hour. It notes the running time may challenge some but praises the entertaining genre mash-up that questions allegiances.
The critic finds Na Hong-jin’s sci-fi action thriller an uproarious, rock’n’roll spectacle of alien-beast battling and car chases that delivers top-quality entertainment. The gonzo melee mixing digital effects with old-school thrills is singled out for praise, alongside the committed performances.
The critic finds the film a sprawling, fascinating sci-fi creature feature that is undeniably entertaining, especially in its strange creature reveal and first-half action. He notes that the second half sprawls into overkill with a comically unsatisfying ending.
The critic finds the first hour a blinder with terrific set design and tension but says the film loses its way with repetitive chases, iffy VFX and a head-scratcher ending that turns Prometheus-like. It is entertaining when sticking to Predator/Tremors territory.
The critic praises Na Hong-jin's ambitious bid for blockbuster-scale sci-fi with monster pandemonium, noting the nerve-jangling kineticism and grindhouse exhilaration in creature reveals. They single out the clash of high and low elements and the director's trademark humor about rural sensibilities.
The critic calls it a wildly entertaining sci-fi creature feature with instant cult classic potential. He singles out the virtuoso camerawork, pulse-pounding score, adrenalized pacing, sharply drawn characters, and cheeky humor for praise.
The review calls the film giddily entertaining yet overlong, praising its blend of violent small-town comedy and big-budget spectacle while noting a step down in finesse from prior works. It highlights the exhilarating yet bleak monster movie elements and the director's signature crude humor.
The critic found the film more interesting to think about than to watch, noting its familiar plot but often beautiful craft in action sequences. They singled out the graceful cinematography transforming chases into something balletically graceful, while criticizing the CGI creatures for looking dated.
The review describes the film as hilarious, unwieldy and overlong but among the best and funniest action movies for much of its runtime, with breathtakingly elegant action moviemaking. It singles out the brilliant action and bawdy humor while complaining about subpar CGI and silly mythology.
The critic praises the nonstop action sci-fi alien monster mash that out-Hollywoods Hollywood films. They single out the spectacular car/horse/alien chase sequences and motion-capture effects for praise.
The critic calls it a masterful monster movie and all-time great action film that leaps between genres. They single out the well-choreographed action sequences and Hoyeon's star-making performance for praise.
The critic finds the film a chaotic, violent, and hilarious monster movie that excels in its first half with inventive action, situational comedy, and a strong monster reveal. It stumbles in the third act by expanding too broadly into high-concept sci-fi territory, causing the pace to drag.
The critic finds the film a wild mix of monster-movie suspense, broad comedy, and blockbuster scale that mostly lands despite a dragging middle section. Praises the ambitious sci-fi, comedic timing, and big-screen thrills.
The review calls it a memorable, idiosyncratic genre-defying epic with a transcendent first act of intense action and horror, but criticizes the overstuffed later parts, long runtime, and sequel setup. Highlights the bold approach and sensory overload in the opening.
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
