Mesmerising, emotionally exhausting and hammer-blow of truth filmmaking from Zuławski, eliciting good-GOD performances from Adjani, Neill and Bennent which seem to draw as much from physical theatre techniques as from film acting, and the picture is all the better for it. 

The way Zuławski and his crew stage, frame and design this thing should be taught in film schools — division is in this film’s DNA, in every frame, not to mention in its very location. It’s a stunning, ferociously original, unpredictable, singular movie.

The best new movie I've seen in over two years. Time bears out such claims, but my waters are telling me this is a genuine masterpiece. Bong's been making excellent films for nigh on two decades, but he's on a whole new level with this, a crystallisation of his entire career to date. A dazzlingly designed, tonally audacious and devastating dissection of late-capitalism class tension, wrapped up in an irresistibly entertaining multi-genre package, fronted by the peerless Song Kang-Ho, but, hell, everyone is pitch perfect here. Wow.

Initially interesting but increasingly meandering doc-xperiment feels ickier and less ethical as it wears on. What's more, its attack on assumed audience bloodlust is aimed in a way as to fundamentally misunderstand art's role in helping us make some semblance of sense of the senseless.