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All Critics (13)
| Top Critics (6)
| Fresh (6)
| Rotten (7)
The setup has mysterious promise, but the film cheaps out on a satisfying payoff.
With strong assists from the cinematographer Zachary Galler and her ex-husband, the composer Sondre Lerche, Ms. Fastvold, previously a director of music videos, has painted a resonant tableau of dysfunction.
Among the many unanswered questions, I ask: Where do they find this junk, and where do so many amateurs get the money to finance it?
The Sleepwalker distinguishes itself from most entries in this angst-ridden genre by way of superb writing, smoldering performances, and hauntingly beautiful imagery from first-time director Mona Fastvold.
None of the characters is particularly likable or admirable, leaving little opportunity for sympathy or curiosity to penetrate the constantly heightened air of psychodrama.
Mona Fastvold's consistently intriguing debut may leave audiences feeling it's all buildup and scant payoff.
The Sleepwalker is a good movie stuck between too much style and too little direction.
...an assured first feature that seems to announce the arrival of impressive cinematic sensibility.
If the finale was able to match the suspenseful buildup, the scale might have tipped to make The Sleepwalker a remarkable accomplishment, rather than a letdown.
In attempting to subvert our expectations of the genre, The Sleepwalker concerns itself with formal details and momentary pleasures that cannot mask the film's regrettable lack of thematic depth.
I was, much to my own surprise, engrossed in this story from pretty much the first frame.
The film soon settles into a confident, well-staged groove, primarily because of two unambiguously terrific performances.
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