Holds enough interest throughout to keep you entertained -- unless you're afraid of mice.
| Original Score: 2.5/4
Dominik Moll's masterfully cast psychological thriller Lemming crackles with tension; its story keeps going off to unexpected places as we watch breathlessly, unable to look away.
| Original Score: 3.5/4
This spooky, quasi-sci-fi, psychological thriller is unclear about what's real and what's not -- and not in any interesting way.
It's a tale of normality invaded by pathology. But here, the danger seems less plausible, the conflict more contrived.
Even by the strictest standards of odd French psychological drama, the behavior here is particularly opaque.
| Original Score: 2/4
More disturbing than thrilling, Lemming, like Alice, overstays its welcome, but does get around to a finishing kick.
The movie, which has the slightly glum perversity of early Chabrol, is a dream of betrayal.
| Original Score: B+
The theme is hidden desire, but the trip feels like a stale museum tour of the usual psychodrama tropes -- voyeurism, ghosts, sexual fantasy, dream imagery, murder -- without the goose-bumps-on-your-brain payoff.
| Original Score: 2.5/5
The actors are more than equal to their eccentric roles, and the film is well worth seeing as a tantalizingly cerebral and unpredictable thriller.
Dominik Moll imbues the first half of his thriller with inklings of strangeness that are at once sinister and quietly comical. But there is, in the end, less to this film than meets the eye.
| Original Score: 2/5
The narrative surrealism can be annoying, but it's never less than riveting, and the acting is superb.
Moll is exquisitely attuned to the way sound rubs up against silence, dark against light, and his shading of psychology into the supernatural is deliciously mischievous.
A unique, absurdist ghost story.
| Original Score: 3/4
Perhaps a tad too long, Lemming is nevertheless nightmarish entertainment.
| Original Score: 3/4
Imagine a movie that combines the suspense of Hitchcock with the inscrutable sexuality of David Lynch's films and you're looking at French director Dominik Moll's Lemming.
Lemming exhibits the same crafty manipulation of audience fears and sympathies as Harry, as well as a keen ability to weave ambiguity and dark emotional subtext into tense, one-on-one encounters.
In the end, Moll's film may be too neat (and too lengthy), but the wallop of disquiet is delicious.
Alas, the film relies too much on its shocks and fails to make the supernatural element at all convincing.