Mekong Hotel(แม่โขงโฮเต็ล)

The Seattle Times by

Compared with Weerasethakul’s acclaimed features, it feels cobbled together and improvised, which for the most part it was.

The A.V. Club by A.A. Dowd

For the most part, though, this hour-long curiosity feels like a fans-only doodle, riffing on motifs Joe has done better elsewhere. Even for a filmmaker who takes pride in scaling the fantastic down to everyday proportions, there’s such a thing as going too slight.

Screen International by Fionnuala Halligan

Its running time may make it more digestible than some of Weerasethakul’s more ambitious pieces, although it straddles the line between full-feature and his short films and experimental work quite beautifully.

Variety by Maggie Lee

The pic plays like a bonus track to the Thai auteur’s Palme d’Or winner, “Uncle Boomee Who Can Recall His Past Lives,” its esoteric symbiosis of Thai folk culture, spiritualism and current sociopolitical conditions simplified, but no less mystifying.

The Hollywood Reporter by Neil Young

It's clear that Weerasethakul is even less concerned with conventional narrative considerations here than he was in the free-rangingly imaginative Uncle Boonmee.

The Guardian by Peter Bradshaw

The ideas here were far more interestingly rehearsed in movies like Tropical Malady and his Palme-winning Uncle Boonmee Who Can Recall His Past Lives. A diverting footnote to the main body of work, no more than that.