Spring Screen 5 articles

Spring

2014

Spring Poster
  • The horror scenes feel misplaced, which is to say that they authentically violate the status quo of the narrative in a fashion that's often impossible for a genre that depends on audiences more or less knowing upfront what it is that they're paying to see. But directors Justin Benson and Aaron Moorhead squander that tension, as they're more interested in telling audiences what they want to hear.

  • Feels brittle and totally modern - the twist is put down to science, not magic, and explained so breathlessly it has to be re-explained later - and admittedly neither the horror angle nor the capital-R Romantic final act really work, but I'd love to see a straight-up comedy from these guys.

  • It’s as if the directors have taken on a dare to see how many different movie genres they can namecheck within a feature runtime, and while they carry out this task with a surfeit of verve, it does leave you with a feeling that you don’t really know what you’ve just seen.

  • Genuinely original and semi-unclassifiable... Defying run-of-the-mill genre expectations, the supernatural forces here are primordial and mythic in origin, and as unlikely as it sounds, try to imagine Before Sunrise redone as a horror film.

  • Showing the same invention as Benson and Moorhead’s astonishing 2012 debut Resolution, Spring splices the DNA of Before Sunrise (1995) and Possession (1981) to engender a monster movie at the shoreline of biology and romance... Moving and beautiful, it’s a true original, with an appeal that extends way beyond the normal limits of the horror genre.