The Retreat

The Globe and Mail (Toronto) by Anne T. Donahue

Much like the heroes of this story, The Retreat manages to defy expectations. And while some gory clichés still abound, it makes for a gruesome, gritty thriller that lets its leads shine.

IndieWire by Kate Erbland

There’s something much bigger afoot, something truly subversive and new, but The Retreat resists digging into that, instead leaning on its (admittedly, badass) leading ladies and their inspiring ability to kick butt. We love to see it, but we’d really love to see more.

Austin Chronicle by Richard Whittaker

Underlit, shot in the same murky beiges that plague so many low budget horrors, and not as profound as it thinks it is, it isn't quite exploitation schlock or a cerebral shocker, instead relying on both conventions for a hybrid that ends up with the satisfaction of neither.

Movie Nation by Roger Moore

The Retreat may be horror by the numbers, but there are solid reasons these character types and story tropes are recycled, again and again. As they teach you in horror film school, they endure because they work, even if they don’t have a prayer of surprising anybody as they do.

Original-Cin by Thom Ernst

The Retreat’s premise is as effective as it is disconcerting. The violence against its gay characters is horrific, but the film’s gimmicks and twists eliminate it from adding much to a conversation about hate crimes. And the surprisingly comic elements that arrive in the third act suggest there was never any intent to be political.