The film’s fantastical meta-commentaries don’t completely cohere but have a winning go-for-it audaciousness.
Beginning with the reversed names in its title, the film announces itself as a distinctly feminine spin on the Grimm fairy tale.
Tremblay discusses how horror can be a progressive, hopeful way to understand the world.
It exhibits a committed understanding of the cinematic value of silence and of underpopulated compositions.
The film is clearly influenced by Wes Craven’s shrill, violent, and weirdly erotic Scream series.
Tze Chun’s film exudes no flair in rehashing the violence and suspense of its predictable noir-thriller material.
The film seems to say less about the power struggle between its main characters than it does about S&M as therapy session.