Mark Costello’s review published on Letterboxd:
Cronenberg Jnr does extreme body swap horror with a healthy dose of existential angst.
Taking the same detached and chilly shooting style of his first film that amped up his dad's own austere sensibilities and obsession with obscure architecture and adding a dash of Panos Cosmatos' garish lunacy, its a borderline mood piece that flirts with a very so-so narrative. While the concept is strong - assassins can now possess individuals to commit murder, keeping their own hands clean - it tempts and teases with too many answerless questions about this: namely, the key line 'pull me out' remains frustratingly obtuse, which for me, left me questioning far too many of the logistics of this rather than get swept along in the broader story.
Luckily though, a combination of graphic and very well realised uber-violence, decent performances and a killer ending that goes from utterly horrific to very clever with its final shot gather together to save this from being a case of great visuals, shame about everything else. Riseborough does well with very little (Voss is a nothing character really, even when we're supposedly shown character beats, another case of frustratingly shown either too much or too little depending on your sensibilities) while Christopher Abbot does a great case of perma-confused. Even Sean Bean playing an utter bastard for once brings a wry smile even if we all know how its going to end for him.
Following on from Antiviral, Cronenberg is getting closer and closer to perfecting that blend of style and substance, even if some frustratingly clumsy narrative beats just hold this back from true greatness for me.