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.
✭ ✭ ✭ Read critic reviews
Canada · 2021
1h 22m
Director Pat Mills
Starring Tommie-Amber Pirie, Sarah Allen, Rossif Sutherland, Aaron Ashmore
Genre Horror, Thriller
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Renee and Valerie, a couple at a cross roads in their relationship, leave the city to spend the week at a remote cabin with friends. But when they arrive, their friends are nowhere to be found. Soon after, they discover they are being hunted by a group of militant extremists determined to exterminate them.
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.
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.
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.
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.
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