Possessor (2020)

Bradshaw finds the film an ingenious, unsettling sci-fi horror with a disturbing final twist. He praises its thought-through premise and queasy allegory of corporate control and surveillance.

Debruge praises the film as a bold, unsettling work with ideas and execution distinct from its director’s famous father. He singles out the lead performances and the inventive visual techniques that convey the characters’ struggle for control.

Newland finds the film stylish, brutal, and genuinely unnerving, calling it one of the year’s most unforgettable viewing experiences. She especially praises Andrea Riseborough’s portrayal of a woman losing her sense of self and the film’s eerie production design and score.

Dowd finds Possessor a stylish, provocative blend of science fiction and visceral horror, though it sometimes favors thrills over ideas. He praises Andrea Riseborough’s performance and the film’s unsettling exploration of identity.

The critic finds the film fascinating and exhausting, calling it a nightmare that lingers. She praises its uncanny world-building, especially the detailed production design and sinister soundscape.

The review is positive about Cronenberg’s audacious science-fiction horror. It singles out the queasy body horror and wickedly clever assassin plot for praise.

The review gives the film a positive verdict. It singles out its grisly, mind-bending science-fiction approach as worthy of Cronenberg’s father.

DeFore gives the film a strongly positive verdict, calling it sleekly executed and of its time. He singles out the unsettling visual effects and the performances by Andrea Riseborough and Christopher Abbott.

Hewitt finds the film compelling, original and well presented, though its clinical chilliness may keep audiences at arm’s length. He praises its unsettling visuals and psychological exploration of identity and control.

The review finds the film an unsettling, effective science-fiction thriller. It praises the performances and Cronenberg’s disturbing, inventive approach to identity and violence.

The critic finds the film visually arresting and intellectually sharp, though its brutality can be bludgeoning. They praise its vivid imagery and its probing of identity and dehumanisation.

Bowen finds the film a disturbing, visually forceful exploration of identity and technological control. He particularly praises its tactile, in-camera body horror and the surreal imagery of its battle over possession.

Ehrlich finds the film engrossing but muddled, with its story and third act failing to realize its potential. He especially praises the visceral body-transfer sequences, practical effects, and imagery of competing identities.

The critic finds the film ambitious and ultimately effective, despite its increasingly abstract final third. Riseborough’s wounded, compelling performance is singled out as the element that grounds the film’s disturbing ideas.

The visible page identifies this as a Sundance review but does not expose the critic’s verdict. Its standfirst describes the film as a lurid sci-fi thriller starring Andrea Riseborough.

The review’s verdict and specific praise or complaint cannot be verified from the accessible page. The page returned only a JavaScript and ad-blocker message.

Willmore finds the film troubling and visually enthralling, but says it does not fully cohere. She especially praises its alien corporate world, while criticizing the thin characterization at its center.

The critic calls the film singular, horrifying, and exciting, while acknowledging that its extreme violence will appall some viewers. They praise Christopher Abbott’s demanding performance and Cronenberg’s precise, controlled direction.

The critic calls it an intelligent, wildly ambitious sci-fi ride and praises its visceral practical effects. They also single out the vivid visuals and the lead performances for making its identity-conflict themes compelling.

Surrey gives the film a strongly positive verdict, praising its surreal, dread-inducing mood and striking visuals. He singles out its unsettling body-hijacking imagery and critique of technology as especially memorable.

Daniels finds the film uneven but ultimately exhilarating, despite weak pacing and underdeveloped themes. He praises Christopher Abbott’s performance and the striking visuals, lighting, and practical effects.

The critic finds the film ambitious and unsettling, though its abundance of ideas sometimes obscures its central thread. Riseborough and Abbott’s performances are singled out, with Riseborough’s emotional grounding especially praised.

Mathews finds the film distinctive and unsettling, though not always coherent. He praises Christopher Abbott’s controlled portrayal of the struggle between host and possessor.

Worthington finds the film provocative and appealing, though its extremities do not always work. He praises its neon-soaked atmosphere and practical effects, while criticizing the unexamined racial imagery in its opening scene.

The critic finds the film visually accomplished but ultimately dispiriting, with little emotional substance. They particularly praise the cinematography and disorienting effects while faulting the film for neglecting character and wasting Andrea Riseborough.