✭ ✭ ✭ Read critic reviews
United Kingdom, United States · 2020
Rated R · 1h 48m
Director Veronika Franz, Severin Fiala
Starring Riley Keough, Jaeden Martell, Lia McHugh, Richard Armitage
Genre Drama, Horror, Thriller
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During a family retreat to a remote mountain cabin over the holidays, a father is forced to abruptly depart for work, leaving his two children in the care of his new girlfriend, Grace. Isolated and alone, a blizzard traps them inside the lodge as terrifying events summon specters from Grace's dark past.
Once the film wrestles itself from the confines of its spiritual predecessor [Hereditary], The Lodge is able to chew on some truly mind-bending ambiguities that kept me guessing—suspended in relatively effective tension—on what was actually happening.
An ambitious, expertly crafted, and admittedly kind of ludicrous horror movie.
The Hollywood Reporter by David Rooney
While the filmmakers' control of mood, menacing atmosphere and unsettling spatial dynamics remains arresting, their story sense grows shaky in a chiller that starts out strong but becomes meandering and repetitive. ... Still, this is classy, intelligent horror.
There are too many explanations dangled here, to ends somewhat frustratingly contradictory rather than usefully ambiguous.
New York Magazine (Vulture) by Emily Yoshida
As a psychological down-is-up horror movie, The Lodge has a few solid tricks up its sleeve. But when the smoke and mirrors clear, it’s ultimately a story about trauma, and a rather bleak one at that.
The Lodge seems more content to hover in the disquieting mood than make anything substantial out of it. ... As it continues along an aimless trajectory, The Lodge proves that even horrible events can be a deadly bore.
Appropriately frosty and aloof, The Lodge is a meditative plumbing of the darkest parts of the human psyche, our vulnerabilities, and self-doubts and it’s these personal fears that resonate loudly.
Consequence by Michael Roffman
While the cabin seemingly offers a rural respite, the endless snow and the situational horror of it all adds agoraphobic washes to any space. Couple that with captivating uses of grey and silver — seriously, the gradient factor in those two colors here is awe-inspiring by itself — and the dread becomes suffocating.
As a bitter commentary on family, truth, trust, and above all, the religion, The Lodge is a serviceable mood piece that ends up leaving you feeling cold, and not in a good way.
The longer The Lodge rolls along, the sheer skilfulness of the execution — the precise manipulation of the audience’s fears — becomes so impressive that one is tempted to simply succumb to its cold, cruel efficiency.
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