The reviews split almost evenly, and few critics are indifferent. Most agree Adria Arjona holds the film together as a veteran single mother turned one-woman army, and that Adam Wingard is more comfortable at this scale than in his recent studio work. The craft draws steady credit: polished, efficient direction, a synth-heavy John Carpenter homage, and violence that several reviewers find satisfyingly bloody.
Where they part is on whether there is anything underneath. The sceptics find the script undercooked and the villains faceless, and The New York Times and Vulture judge its politics of forever wars gestured at rather than argued. The Wrap complains the promised mayhem keeps failing to arrive. The spread is wide: /Film hails it as a worthy heir to Carpenter, while Polygon thinks the political point lands. Whether it has a brain seems to depend on how much the viewer wants one.