For all its emotional restraint, Rick Alverson’s film builds to a point of remarkable pathos.
Daniel Patrick Carbone’s pensive style is interested in revealing a world in flux, but his fixation on death is so incessant that it situates the film as a morose fetish object.
Ike and Sean always feel as if they’ve fallen out of the sky just for the film’s setup.
Swanson’s socioeconomic privilege is not unlike that of Lena Dunham’s wayward youths.