Critic Reviews



Based on 24 critic reviews provided by Metacritic.com
Filmmaking craft is not the issue here, it’s the timidity of the storytelling that sits in sharp contrast to the boldness of some of the visual and sonic experimentation.
Viewers who thought nothing much happened in "It Comes At Night" are advised to steer clear.
Woodshock offers a whole lot to look at, but not all that much to see.
Woodshock is a movie which doesn’t seem to have much interest in being a movie. It revels in images and sensations...without much mind paid to story or character development or really even any context demanded by the difficult issues it raises.
The main problem is that the directors often struggle to assign meaning to their images that helps advance either the narrative or illuminate the emotional state of their main character.
With the film’s human element so glassy and its storytelling so thin, however, all this elegant formal trickery soon turns more aggravating than intoxicating — by its extremely splintered, impressionistic finale, the film skates perilously close to misery chic.
There’s a thin, and very jagged, line between the radical mosaic approach to editing and narrative of a film like Shane Carruth’s Upstream Color and the impressionistic jigsaw vagueness of Woodshock, which simply seems reluctant to commit itself to mere coherence, as if that simply were too unchic.
Unlike their spring 2018 fashion collection, Kate and Laura Mulleavy’s first foray into moviemaking, “Woodshock,” is depressingly dull and terminally inarticulate.
With its gauzily surreal touches, Woodshock reflects the Mulleavys’ romantic flair for texture and embellishment. But as Theresa’s guilt and self-medication mount, along with the film’s profoundly muddled ideas about assisted suicide, the curated trance grows mind-numbing. It’s a death trip with pretty lingerie.
Slant Magazine
It becomes the obnoxious equivalent of trying to have a serious conversation with people who are high out of their minds.

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