The Humans - Kritiken

Cinematographer Lol Crawley (The OA) intersperses it all with artful close-ups of empty doorways and elevator shafts, a cacophony of haunted violins by famed contemporary composer Nico Muhly keeping score.

Very real issues are suffused with an oppressive, unearthly, compelling unreality.

...the prewar apartment in lower Manhattan creaks and groans its displeasure during a dysfunctional family Thanksgiving.

Masterly family drama...

It’s a gripping, appropriately stifling experience, and the feelings — the fear, the disappointment, the unhappiness — hit home.

Writer-director Karam and his cinematographer Lol Crawley move the camera about in a disturbingly effective style that combines intense close-ups of faces and flaws in the apartment with horror-movie-style shots.

The razor-sharp balance this maintains is a rare achievement and it’s in service of astute notions – the humor, heartbreak, and sheer terror that comes with unconditionally loving and being loved.

“The Humans” grows stronger as it migrates from mind to body — day to night, talky drama to outright horror...

The performances are easy and natural, with characters delivering dialogue that sounds like they're living it instead of saying brilliantly crafted words.

...a sharp, scary portrait of a family in despair.

Some may insist that the story lacks cogency offstage, but it’s those frenetic, intimate and often senseless moments that justify its title.

...it’s a thoughtful meditation on how we project our disappointments upon one another, how casually callous we can be, and also how we endure because of these messy bonds too.

In this ensemble showcase, there’s a familiar but still potent vision of family as comfort and burden at once.