Critic Reviews



Based on 42 critic reviews provided by Metacritic.com
The chilling and stylish and aggressively creepy Stoker begins at the end and takes us on a shocking and lurid journey before we land right where we started, now seeing every small detail through a different lens. It's disturbingly good.
Park's unsettling visuals and his handling of the cast make the occasional holes in Wentworth Miller's script practically irrelevant.
For as long as Park and Wasikowska keep it burbling, it's an intoxicating brew.
Stoker is Park's darkly funny, deliciously depraved riff on Hitchcock's "Shadow of a Doubt."
A beautifully twisted, slow-burning psychothriller that may or may not all be taking place inside India's head.
Stoker is the sort of stylish, cerebral movie that engages your brain instead of your emotions, and yet you're never less than intrigued by the breathtaking visual artistry of this slow-burn thriller.
Sure, it's got its horror aspects. But for my money, this movie belongs alongside “Secretary,” “Ginger Snaps” and “Thirteen” in the family of deliciously dark female coming-of-age stories.
The movie wants to be Hitchcockian, but it's the flat-footed Hitchcock of "Marnie" that Park evokes. His filmmaking here is hermetic and lugubrious, with each physical movement meaninglessly heightened and every line hanging in the air with (empty) significance.
Stoker is like the baby David Lynch and Tim Burton had, then left on the doorstep of the Addams Family. Full of heavingly gorgeous images that envelop a viewer before smothering them, its maddening elements eventually become too much to bear.
Spontaneity has been banished by rigid stylization, and the net effect is as lifeless as a severed head that turns up in a basement freezer.
The movie reveals itself as not merely dull, but pointless.

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