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Critics Consensus: No consensus yet.
Critic Consensus: No consensus yet.
All Critics (21) | Top Critics (10) | Fresh (20) | Rotten (1)
Although Seo and Ahn are able to tap into David's confusion and agony -- especially when filtered through the lens of his damningly hopeful parents -- there's never much more to David (or his story) than that.
Writer-director Andrew Ahn has made a confident, assured, low-key debut that's a textbook example of how to make a compelling small-budget movie.
The assured feature debut by Andrew Ahn is also the story of a young gay man's sexual awakening, and its sensitive lead performance affectingly expresses the tension between tradition and personal identity.
Even with its flaws, Spa Night is an extremely personal film. We need more of those.
It would be easy to categorize this cool, exquisitely observant first feature by the Korean-American filmmaker Andrew Ahn as a gay movie. But it is much more.
Together, Ahn and cinematographer Ki Jin Kim approach moments of sensuality subtly, as the camera languidly wades into the steamy saunas and the monochromatic showers where David's interest in the unknown begins to percolate.
Ahn and cinematographer Ki Jin Kim work with levels of color and quiet stylization that gently nudge the film into sweet moments of cinematic subjectivity.
he movie is packed with dramatic inner rhymes and startling colour shifts that convey the challenges and pleasures of breaking away from your parents, even if -- especially if -- you love them.
Coming out as queer is always a difficult process, as is making an interesting movie about coming out in 2016, but Andrew Ahn's meditative Spa Night pulls it off.
A movie about the psychological closet may be unfashionable, but Spa Night helps to better understand the depths of gay identity.
An instant classic of Asian-American, gay...oh hell, just cinema. This ethnic and sexual immersion is as richly rewarding as it is quietly and impressively achieved.
There's even a sense that not enough happens but the repression-a lot of glancing, no touching-feels right with the tone, and especially within the cultural context, of the film.
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