Dual (2022) - Movie Reviews - Page 2 of 2

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Review of Dual (2022)

By Mark Hanson (70) for Slant Magazine (8,298) on 26 Jan 2022

Riley Stearns’s film consistently tickles the funny bone, even when it comes at the expense of psychological nuance…

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Review of Dual (2022)

By Siddhant Adlakha (174) for IGN (1,013) on 25 Jan 2022

Writer-director Riley Stearns transforms depression and disappointment into a hilarious confrontation of death and a peculiar tale of self-image…

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Review of Dual (2022)

By Jacob Oller (247) for Paste Magazine (2,906) on 24 Jan 2022

If you’re blessed with matching taste, where you’ll put up with a bunch of over-literal, stiff-backed oddballs dealing with a clone crisis,…

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Review of Dual (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 24 Jan 2022

Dual adds a fresh sprinkle of doom to the already savage deadpan of Stearns’ previous work, and bitterly crystallizes the existential anxieties…

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Review of Dual (2022)

By Peter Debruge (1,557) for Variety (12,700) on 24 Jan 2022

Dual is in fact a fairly astute comedy…

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Review of Dual (2022)

By Ben Pearson (42) for Slashfilm (971) on 24 Jan 2022

Ruthless, deeply cynical, and thrumming with jet-black humor, Dual is a Riley Stearns movie through and through…

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Review of Dual (2022)

By Clint Worthington (295) for Consequence (296) on 24 Jan 2022

The results are deliciously off-kilter, even if the sci-fi world Stearns has created is somewhat clumsily reverse-engineered to make his central…

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Review of Dual (2022)

By Amber Wilkinson (674) for Screen Daily (1,021) on 24 Jan 2022

Karen Gillan is the main selling point of the latest film from Riley Stearns (The Art of Self-Defence) – an odd mix of deadpan satire and…

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Review of Dual (2022)

By John Defore (1,351) for The Hollywood Reporter (7,050) on 24 Jan 2022

Stearns’ third feature (following Faults and The Art of Self-Defense) is his least satisfying so far; as visually drab as its predecessors,…

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Review of Dual (2022)

By Rodrigo Perez (382) for The Playlist (3,871) on 24 Jan 2022

Both Stearns and Gillan commit to the detached tenor…

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