Uma Lista a Abater

Tire toda a poesia e a tranquilidade hipnótica de Drive: Risco Duplo. O que lhe resta é a violência gráfica e a escuridão. Multiplique essas duas coisas por cinco. Isso, numa execução visual austera, é Uma Lista a Abater mergulhada no sotaque britânico. O crescente incómodo das garras do fanatismo ocultista a desenrolar-se em frente à nossa dupla de heróis, funciona no filme, mas não acho o seu «ponto de partida» um grande clímax. Talvez porque já passei por algo MUITO semelhante, mas muito mais horrível e depravado, noutros lugares como espetador. Para não mencionar os arrepios mais fortes do êxtase da fuga através do túnel subterrâneo. (16/01/2012)

I liked Kill List in the details, but the overall impression is mixed… For instance, the initial dinner (fantastically oppressive), the second murder (after Drive, the second film this year where a hammer is really cool), the chase in the tunnels (the only really scary scene) and the music (or rather the various unpleasant noises and sounds), all that is great. The individual bits are really nice, but I couldn’t put anything together with the package as a whole. And the ending was very disappointing, it blends two ways how to ruin a climax: lack of surprise and not answering some questions the answer to which I would like to know. The film made me happy several times with how it’s made and its perfect atmosphere… but in the end it didn’t tell me anything. 3*+ (26/12/2011)

Excellent. Cival's parallel with Eyes Wide Shut doesn’t falter much (an internally incomplete character attracted to the obscure community), and I would also add Wickerman (pagan cult), and praise the film for its almost "veristic" approach to leading actors and working with mise-en-scène and editing. It's sick, it's derailed, it's raw, it's absorbing... dirty dumplings, somewhere between absentee sex, ubiquitous death, and fleeting love. (18/04/2013)

Good intentions and several thrilling scenes wrapped into a messy narration that fails to draw in the viewer and in the end leaves them with more questions than they would like. I appreciate the unorthodox approach vis-a-vis the characters, the work with the music and the unexpected bursts of violence, but the story doesn’t make any sense. Even A Serbian Film, which was more gratuitous and morally reprehensible, left me with a better impression. (22/10/2019)