Recensioni di Metacritic

Even as the film pulls out all the stops, the character work remains subtle in a way that gets under your skin. The magnificent performances of Reyes and Ireland align perfectly, peeling back the humanity their two characters had only tenuously been clinging to.

Wrapped in drab locations and jaundiced lighting (Chananun Chotrungroj’s photography is brilliantly bleak), this grisly gynecological horror movie is not for the squeamish.

In teasing out the complex relationship between life and death in relationship to birth and “Frankenstein,” Moss presents a provocative existential quandary and reminds us that horror stories have been women’s stories all along.

Habitually shooting her characters through narrow doorways and windows, the better to convey their isolation as well as their squeezed-by-circumstance states, the director fashions a sinister atmosphere, aided by intermittent pregnancy and corpse imagery.

Moss’ creation is more than a sentient pile of parts with a fresh coat of mortuary makeup: It’s a savvy, gross, black-hearted gem with a humanity all its own.

Birth/Rebirth serves as a perverse correction, recalibrating decades of dilution to reemphasize the moral weight and emotional anguish at the heart of Shelley’s novel.

Birth/rebirth has some "body horror" tropes and some straight horror tropes, but it's not really a monster story. It's more of a medical thriller, helmed by two twisted conspirators, both operating from a place of desperation and trauma.

As someone feeling rather down on the modern horror film, I was strangely delighted to find one that could get under my skin.

Normally, ego married with naivety is a bummer. In “birth/rebirth,” it’s gut-chilling.

Moss tackles the idea from a more intimate and feminist perspective, questioning how far mothers are willing to go for their children, or simply to become mothers at all. If what happens in her movie seems altogether extreme, maybe it’s because the world we live in tends to push such women to extreme places.