Gold

The A.V. Club by

Tension does build and there is a satisfying conclusion, but there is a significant stretch where, undeniably, a sizable amount of air comes out of the balloon.

Film Threat by Alex Saveliev

Gripping and mercifully short, it doesn’t quite achieve the status of cinematic gold. Perhaps it’s for the best, or Hayes may have fallen prey to his ambitions.

The New York Times by Amy Nicholson

The movie’s mood is unrelentingly miserable. Its cinematography, by Ross Giardina, is bleached-bone bright; its soundscape features more buzzing flies than music.

The Guardian by Luke Buckmaster

Gold is a minimalistic production, story and setting wise, with an interesting kind of contextual ambiguity: we know there is a wider world beyond the frame, though we don’t know what it looks like. Sparseness is intriguing, but this film is so damn sparse.

Slant Magazine by Mark Hanson

Throughout, Efron seems almost determined to wipe away the last vestiges of his youthful looks.

Movie Nation by Roger Moore

Gold isn’t really bad. It’s just not enough to amount to anything, or anything much.

IndieWire by Susannah Gruder

While a nihilistic vision of the future — of climate disaster, war, disease, or some combination of the three — is certainly relatable, Gold ends up being rather empty itself, void of any real message aside from the lyrics to the Nick Cave song that play as the credits roll: “People Ain’t No Good.”