Styx
Film Movement | Release Date: February 27, 2019 CRITIC SCORE DISTRIBUTION
78
METASCORE
Generally favorable reviews based on 10 Critics
Positive:
10
Mixed:
0
Negative:
0
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Critic Reviews

Critic scorePublicationBy date
90
VarietyJessica KiangJan 25, 2019
This is "All Is Lost” with a spinning moral compass and a topical dimension that proves even more gripping than its brilliantly achieved visceral action. Read full review
88
Washington PostMichael O'SullivanMar 14, 2019
For the first half of this spellbinding — and unexpectedly gut-wrenching — little film, there’s barely any dialogue at all. Read full review
83
IndieWireDavid EhrlichFeb 27, 2019
A blunt, breathless, and astoundingly unsentimental morality play that’s told with the intensity of a ticking-clock thriller, Wolfgang Fischer’s Styx is every bit as ominous as its title suggests, and far less fanciful. Read full review
80
EmpireIan FreerApr 26, 2019
Styx is a gripping sea adventure that mixes thrills and spills with thoughtfulness and compassion. The MVP here is Wolff, who superbly etches emotional disintegration alongside amazing physical prowess. Read full review
80
The New York TimesManohla DargisFeb 26, 2019
A taut moral thriller, Styx is a story of what happens when self-reliance runs into other people’s desperation. Read full review
75
The PlaylistJonathan ChristianFeb 27, 2019
The primary factor permitting Styx to warrant any sort of recognition is inarguably Susanne Wolff’s dynamically subtle performance. Read full review
75
Slant MagazineKeith WatsonFeb 25, 2019
The film is a penetrating an indictment of the bureaucratic obstacles placed in front of refugees. Read full review
70
Los Angeles TimesRobert AbeleMar 14, 2019
Its dizzying strength is as a visceral journey, a detour from the privileged freedom represented by a horizon to the tragic limbo of displacement, an ocean that’s both a confinement and an abyss. Read full review
70
The Hollywood ReporterBoyd van HoeijJan 25, 2019
Admirably, the director maintains the documentary illusion throughout, opting for a third act that finds exactly the right, understated tone, neither glorifying Rike’s role, nor underplaying the character’s more than obvious compassion. Read full review
70
Screen InternationalBen CrollJan 25, 2019
Offering little in terms of exposition and even less when it comes to dialogue, Fischer’s sophomore effort develops character and, eventually, unsettling moral questions entirely through action, playing as a more consciously political companion piece to J.C. Chandor’s similarly taciturn All is Lost. Read full review
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