Critic Rating
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Director
Pascal Plante
Cast
Juliette Gariépy,
Laurie Babin
Genre
Thriller
Kelly-Anne, a model, is obsessed with the trial of high-profile serial killer Ludovic Chevalier. As the line between reality and her dark fantasies becomes blurred, Kelly-Anne spirals down a dark path to find the one crucial piece of evidence: a missing video of the 13-year-old victim to whom she bears a striking resemblance.
This gripping and unnerving French-Canadian thriller bears a striking resemblance to the work of David Fincher in the best way, while also putting its own spin on the familiar subject material of serial killers. It's one of the more boldly contemporary movies in the genre, with the internet--specifically, the dark web--playing a crucial role.
Collider by Marco Vito Oddo
It’s rare to feel the tension built inside a theater to the point where everyone is holding their breath, but Red Room is a unique movie that defies expectations and keeps pulling the audience deeper into the dark abysm of human nature.
The Film Stage by Alistair Ryder
Regardless of whether you’re approaching it as a satirical examination of true-crime fandoms or as a dark subversion of the typical serial-killer thriller, Red Rooms is an unsettling, uncompromising accomplishment.
The Hollywood Reporter by Frank Scheck
Gariépy, masterful in her emotional and physical exactness, is a revelation as the enigmatic Kelly-Anne, whose stringent control over herself and her environment masks a sick compulsion whose origins we can only guess at.
The New York Times by Beatrice Loayza
The film’s tension rides on the unknown, a paranoid vibe accented by Kelly-Anne’s shady online presence and Gariépy’s stark, sphinx-like performance.
Slashfilm by Chris Evangelista
You won't see anything gory in Red Rooms. Nothing is going to jump out of the dark and make you jolt in your seat. But as the film slowly and methodically burns towards its surprising conclusion, your heart will race along with your mind. Do you want to see something scary? Watch Red Rooms.
Paste Magazine by Dom Sinacola
An open riff on First Blood, with shades of the 1973 Joe Don Baker vehicle Walking Tall, Rebel Ridge also feels like a determined return to the relentlessness of Saulnier’s first films.
Screen Daily by Wendy Ide
It’s an uncomfortable watch, but a extremely effective one.
Little White Lies by Hannah Strong
Blending courtroom drama and claustrophobic tech-tinged nightmare, Red Rooms is a striking and austere examination of the true-crime industrial complex that benefits from its formality and disturbingly removed protagonist.
Variety by Dennis Harvey
In contrast to most movies about serial killers, this one offers nary a glimpse of violence, let alone any wallowing in sadism. Yet somehow that makes it all the more icky — at times the squirm factor is such that you may think no shower could wash a viewer’s taint-by-association away.
The Observer (UK) by Wendy Ide
Plante’s measured pacing and cool, dispassionate storytelling burrow into the skin of the character. It’s not a comfortable place in which to spend time.
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