The Ballad of Buster Scruggs
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All Critics (13)
| Top Critics (3)
| Fresh (8)
| Rotten (5)
Filled with clear, bright images and moments of skewed genius, this delicate debut effortlessly evokes those languid summer doldrums, when even a rotting girlfriend is better than no girlfriend at all.
The film invests in spacey horror tropes one moment, plunges into absurdist adolescent angst the next and begs questions every step of the way, but just about holds together.
Inventive without being twee, quirky without being overly Wes Anderson, and suffused with a late-adolescent sense of longing as palpably felt as it is understated.
[W]hile the film tackles the subject of personal morality and ethics, it works more as a vehicle for twinkling nostalgia memories of youth.
A dreadfully pretentious genre-bender about the pain of unrequited love.
Occasionally inspired but just as often frustrating.
Builds a real air of mystery around the captive girl, what she is, what she is or isn't capable of doing, and what we're invited to feel about her or her caretaker-captors... Made with real filmmaking flair.
Make-Out with Violence is a horror movie given the generic low-budget art-movie treatment.
Outrageous, disturbing and wickedly funny. It's a stylish, bizarre and refreshingly subversive amalgamation of horror, romance and comedy.
This is a far more complex and thoughtful examination of the transition to adulthood and how we deal with death rather than just another zombie flick.
If Hal Hartley used to be detachment for people who had lived too much; Make-Out is just lazy ennui, a movie with the momentum of sleep and the conscience of a bored sociopath who likes Gossip Girl.
The entire film possesses a certain longing, the sort that manifests itself and begins to grow at the moment of High School graduation, when some of the most formative circumstances of youth are remembered only as ephemeral moments.
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