The film’s tendency to break the “show, don’t tell” directive becomes especially irksome in its homestretch.
The film ultimately succeeds as a convincing social plea, but fails as compelling cinema.
Wes Ball’s film is at its best when its characters are in motion, the world around them revealed as temporary, unstable, and always in flux.
One wishes it had spared us the remedial theorizing on media culture and artistic representation and license and less apologetically acted the part of a straight-up horror film.
