Alléluia

The Guardian by

Fabrice du Welz's serial-murder jolly doesn't quite dramatically press its central relationship enough to prevent the film from devolving at the last into a default bloodbath. But it's disturbingly credible for a long time.

The Hollywood Reporter by Boyd van Hoeij

The film’s only weakness is its ending, which is so subtle it risks being interpreted by the majority of viewers as enigmatic or unclear.

Slant Magazine by Christopher Gray

Both Lola Dueñas and Laurent Lucas are impressively committed to their roles, but the film's script is elusive to a fault.

Los Angeles Times by Gary Goldstein

Du Welz, despite a strong assist from cinematographer Manuel Dacosse, rarely musters the requisite tension or propulsion to immerse us fully in the story's wickedly wild ride.

Village Voice by Michael Nordine

Sensuous and arresting, Alleluia constantly feels as though a séance or ritual murder is about to be performed; the actual deaths, when they arrive, turn out to be rather unceremonious affairs.

The A.V. Club by Mike D'Angelo

Was there a pressing need for yet another rendition of this story? Should it come around again (and it likely will), a unique perspective on the events would be welcome.

Variety by Peter Debruge

Alleluia may be a remake, but its somber look couldn’t be more original — all the better for the film to spring its nasty surprises on auds, none more unexpected than the way certain shots remain seared into one’s subconscious in the days and weeks that follow.

RogerEbert.com by Simon Abrams

Oppressively bleak mood piece Alléluia is a horror film for people who like to be scared by a grim, joyless and thoroughly depressing character study.

The New York Times by Stephen Holden

Alleluia is a fever dream of sex, jealousy and murder whose intensity leaves you spellbound.