| ARP Sélection | Release Date: August 21, 2020 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
8
Mixed:
16
Negative:
2
|
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Critic Reviews
Peninsula suffers the same type of sequelitis that suggests a second entry must be more/bigger/louder than its predecessor. Where Train to Busan’s two hours were impeccably paced and every frame meticulously used, Peninsula spins its wheels in between its admittedly impressive key set pieces.
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The Film StageAug 19, 2020
By the time it reaches its broad, emotionally manipulative finale, it does have some refreshingly optimistic ideas about small, sacrificial gestures making a difference and that choosing emotion over logic while dooming us in other zombie movies is also what makes humanity worth saving in the first place.
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IndieWireAug 18, 2020
Yeon eventually just throws his hands up and surrenders to the cheesy spectacle of it all with a frenzied third act that finds the entire cast in a death race to the border. It’s here — in an amusingly unmoored but ultimately exhausting sequence that looks like someone trying to recreate “Fury Road” on a Nintendo 64 — that Yeon stops being able to afford his own ambition, and the film’s budget suddenly feels like a rubber band stretched over a hula-hoop.
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Whereas most of the movie takes place in a grubby, blue-tinged murk — a blend of hokey day-for-night lensing and virtual set extensions that’s badly suited for home viewing, but might look frightening in darkened theaters — day breaks just in time for a big, Michael Bay-style climax. The film has clipped along at a reasonably brisk pace until this point, only to downshift into a laughably protracted slow-motion finale, full of gratuitous lens flares and overwrought strings.
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