Islands (2025)

Howells praises the film as a sizzling, slow-burning mystery that becomes a distinctive European arthouse piece. He singles out its atmospheric soundtrack, Hitchcockian imagery and a jaw-dropping camel scene.

Debruge finds the film a compelling, existential thriller about people trapped in lives of their own making. He praises Fuerteventura’s widescreen imagery for reinforcing the characters’ isolation.

Ehrlich finds the film gripping, hypnotic, and unexpectedly hopeful. He singles out the tense, languid interplay between Tom’s possible future and the mystery of Dave’s disappearance.

Maskell finds the thriller tantalising but says its pacing falters, especially in the overlong second act. She praises the film’s subtle ambiguity, seductive atmosphere and the lead performances.

The review finds the film absorbing and inventive, though too ponderous and reserved to work as a thriller. It particularly praises Sam Riley’s nuanced performance and the film’s subtle, unresolved paternity mystery.

Rooney finds the film absorbing and well-acted, though overlong and weakened by tension that slackens in its closing stretch. He especially praises Sam Riley and Stacy Martin’s compelling performances and the atmospheric island setting.

Bradshaw finds the film smart and intriguing, though its dramatic shape and emotional focus could be sharper. He praises its subtle approach to the mystery and the strong performances, especially from Sam Riley, Stacy Martin and Jack Farthing.

Screen Daily identifies this as a review of Jan Ole Gerster’s 2025 film. The review’s verdict and any specific praise or complaint are unavailable in the paywall shell.

Williams finds the film most compelling as a portrait of Tom’s existential malaise, but says its crime plot pushes him toward an unearned epiphany. He praises the hypnotic attention to Tom’s routine and the film’s subtle treatment of class, while faulting its anticlimactic investigation.

Rapold finds the slow-burn drama’s portrait of ordinary discontent quietly affecting, though its languid romantic tension can feel underplayed. He particularly praises Sam Riley’s weary yet diligent performance, while noting Stacy Martin could bring more urgency.

Mowe finds the thriller accomplished but overlong, with a final reveal that feels underwhelming. He praises the actors’ skill, especially Sam Riley’s portrayal of the dissolute Tom.

The review finds the central mystery disappointing, though the film works better as a study of people trapped in the liminal world of package holidays. It praises Sam Riley’s portrayal of Tom’s frustration and the film’s depiction of the holidays’ seedy underbelly.