Most critics like it, and most of them like it for the same reasons. Eight of the ten reviews are positive, and the praise gathers around the two leads: Kara Young and Mallori Johnson play twin sisters, and nearly every review remarks on the charge between them, loving one moment and volatile the next. Harris’s direction is the other recurring point, credited with holding violence, humour and dream imagery together in a first feature without the film coming apart. Sterling K. Brown’s father draws steady notice as a chilling late antagonist.
The reservations cluster around the images and the last stretch of plot. Several reviews find the climax by the book and some of the connective scenes slack. The New Yorker thinks the visual world never quite matches the force of the script, and The Hollywood Reporter goes further, calling the filmmaking flat and marking the film down sharply for it, the one plainly mixed verdict. Otherwise the spread is narrow, and the argument is about degree rather than direction.