The Incomer (2026)

Louis Paxton's debut is a delightful, funny, weird, and even a bit moving film with broad appeal. It singles out Gayle Rankin's spectacular performance as Isla for praise.

The critic describes the film as a quirky, ultimately heartwarming seaside fable that balances absurdity with respect for the characters' traditions, praising the lead performances for their commitment and range.

The critic calls the film a furiously funny piece of Scottish folklore with a delightfully dotty tone and a Lanthimos-like twist on its Celtic spirit. They single out the strong physical comedy, memorable performances (especially Gayle Rankin’s wild turn), inventive costumes and animation sequences, and the striking use of Highlands locations for praise.

The critic calls it a droll first feature that is an intriguingly oddball proposition living by its own unconventional rules, mixing live action with animation and gentle humour with savagery. It occasionally veers too close to handwoven whimsy but remains compelling.

The film is too twee at times but remains winsome and disarmingly good-natured, earning a heartwarming finale. It singles out Gayle Rankin's magnificently layered portrayal of Isla for praise.

The critic describes an intriguing debut that makes effective use of its remote island setting and strong performances from the leads, evolving into a charming regional human drama despite some overly whimsical moments. They single out the impressive sense of place, elemental soundtrack and cinematography capturing the rugged landscape for praise.

The critic finds the film overly twee and consistently unfunny, with quirky weirdness burying any insights into human connection or modern life. Gleeson provides some charm as the outsider, but the siblings' ignorance gags and cutesy elements dominate.

The critic finds the comedy abrasively unfunny and twee, criticizing the quirkiness and whimsy as overwhelming, but notes some poignancy in Gleeson's performance and the theme of change.

Paxton's feature debut is a charming, cozy fish-out-of-water comedy blending oddball mythology, deadpan humor, and themes of grief and resistance to change on a remote Scottish isle. The well-oiled trio of Rankin, O’Rourke, and Gleeson drives the conflicts with hilarious chemistry while delivering valuable lessons between the reclusive siblings and the outsider.

The review describes it as a fun adult fairy tale with delightful performances, especially from Gleeson and O’Rourke, praising the sincere spirit of belonging and hope over fear, though noting it runs out of steam and leans twee at times.

The critic praises the film's whimsical take on isolation and sibling dynamics, highlighting the charming animated sequences and strong performances, while noting it opens discussions on societal living and loneliness. They single out the warm relationships and humorous elements for praise.

The critic finds the film a quirky, funny, and over-the-top comedy balanced with charm and earnestness that will leave viewers giggling. The standout element praised is the charming and unique performances from the three leads, particularly Gayle Rankin's layered portrayal of Isla.

The film is a mild folk-horror comedy riffing on Local Hero and The League of Gentlemen, fitting into Sundance's World Dramatic Competition with eccentric characters on a remote Scottish island. It pulls together in the end thanks to the core trio's performances, addressing a dark well of sadness with an upbeat, emotional note despite frequent silliness.

The critic finds Louis Paxton’s debut a poignant if at times twee fable of culture clashes and belonging, anchored by charming central performances especially Gayle Rankin’s feral energy. It offers childlike wonder and quirks but its quaintness and occasional dragging sequences may not suit everyone, yet ultimately succeeds as a headstrong folktale with humour and heart.