Metacritic reviews

Quarantine director John Erick Dowdle and co-writing brother Drew wisely stick close to the told-from-the-cameraman's point-of-view template of the terrific original, though they add a few fine flourishes.

Claustrophobic, jittery at times, and electric in pace, Quarantine is a stripped-down bloody thrill ride that -- while certainly not catering to everyone's tastes -- should satisfy gore-hounds looking to step up their theatrical horror cuisine beyond the usual creepy little kid rehashes.

Give Quarantine credit: Without resorting to computer-generated monsters or supernatural explanations, it uses consistent logic and confinement to find new ways of being scary.

The template is familiar, but Quarantine delivers the heebie-jeebies with solid acting and perfectly calibrated shocks.

Dowdle manages a few nice shocks and some neat moments of pitch-black gallows humor, but Quarantine nevertheless feels awfully familiar, and it grows less convincing with each passing moment. At its worst, it abandons realism entirely and flirts with gory kitsch.

Oh, "Blair Witch," what hath thou wrought? It has taken less than a decade, but the concept of horror films filmed documentary-style has officially become a tiresome cliche.

A modestly inventive, sporadically exciting thriller that nonetheless proves too faithful to its central conceit for its own good.

It's easily the weakest entry into this ever-expanding category and is inferior to its subtitled source material. Quarantine implies "stay away" and that's not bad advice.

Shame as well upon the advance marketing department for blowing the end of the movie in ads, thus exorcising any ghost of a chance Quarantine had of issuing a surprise.

Like "Blair Witch," Quarantine uses the conceit of a movie-within-a-movie to give documentary immediacy to its assorted grotesqueries.