Shines in its sly observances about Asian American cultural idiosyncrasies even though the overarching narrative at times feels derivative and uninspired.
It is uncompromising, both in the way it travels a seemingly inevitable trajectory and relies on practical effects to present gruesome imagery.
Beneath all the gags, jokes, and one-liners, it dissects not only the role of Black characters in horror movies but the perception of Black viewers of those characters.
Plays like part neo-noir thriller and part morality play, with director Roland making the most of his micro budget to give the movie a distinctive look.
Although there’s nothing especially wrong with "Emily," little in the movie causes it to stand apart from other, similar productions.
The movie does not do Philip Marlowe a disservice but neither does it successfully re-invent the character for a new era and its attendant audience.
Highlights a strength of filmmaker Hirokazu Kore-eda – the ability to find compelling truths underneath a veil of sentimentality.
Although Anna Kendrick is the best thing about the movie, her contribution fails to elevate "Alice, Darling" to better than a streaming pick.
By the time the 3-hour running time has expired, most viewers will be exhausted from the nonstop energy of the experience.