異遇 (2021)

Encounter is bugged-out science fiction paranoia, stylish and sinewy, with an opening sequence that may have you bolting for the door, or at least the remote control.

Once Encounter reveals its destination, there aren’t many places for the script to go, though there’s a savage little side trip to a rural militia during which it becomes clearer that this Ahmed acting showcase is also interested in touring the American psyche

Unfortunately, Encounter is the kind of small film that could get lost in the holiday cinematic shuffle. But Ahmed’s performance is one that’s worth unwrapping.

While Michael Pearce’s second feature may not deliver quite the same wallop as his debut feature Beast, it demonstrates the same mastery of filmmaking craft and another incredible performance from Riz Ahmed.

It is a good movie, but what elevates it from the pack are the performances from Riz Ahmed and Octavia Spencer.

Riz Ahmed takes Encounter a long way. But he can't single-handedly carry a film that never quite figures out what it wants to be — stark sci-fi paranoia? Psychological family drama? Desert road-trip apocalypse?

It’s a surprisingly meaty work that works on several levels at once.

In Pearce’s sure hands, the film sustains its tension, even as it sideswipes the audience with slickly executed change of tone.

It’s deceptively simple yet deeply philosophical stuff, channeled by first-rate genre filmmaking.

Encounter has a whole lot of heart and takes a sensitive approach to PTSD that is underscored by a cultural tension that comes to a head in its high-octane, action-packed final act.

The cinematography is phenomenal, acting great, sound design amazing, editing fabulous, but jeez, what was the point of half the movie? I understand what they're trying to convey but it was delivered horribly. It had so much potential to be something else, but wasted it. The ending was decent, though.

I found this movie interesting and the plot was nice, even though some moments were a bit dumb, but overall I think this movie was too low rating here.

They should not have cast Riz Ahmed; he is way, way too good for this movie. The quality of his performance makes every other aspect of the movie look like genuine trash. The unambitious script, workmanlike editing, and failure to adequately direct or work around the child performers make for an overall very mediocre film. At least, the film would be mediocre if it had a mediocre star at its center. But it doesn't; it has Riz Ahmed. When the film fails to rise to the level of his performance, it fails to justify its own existence.

Despite Riz Ahmed's convincing performance, he alone is not enough to turn a mediocre script directed in such an average manner, into a better film. And it's not that he fails to carry the weight of the story, as it's his work that makes it worth watching, but it's very unfortunate when a film doesn't have the arguments nor the sufficient quality to justify the good acting it contains.

Big fan of this movie. Riz Ahmed is again excellent in a role that resonates with today's world of paranoia and mental illness, with a fun sci-fi twist that was creepy and I almost wanted to be true.

Totally liberal propaganda story telling disguised with mix of aliens/PTSD/mental health; where all white man are crazy and bad; black people are the only good and everyone else is a victim.

(Mauro Lanari) Once the initial long shifting of genres has been overcome, the film expresses well a couple of things not taken for granted about the intergenerational relationship: children can save their parents by learning from them to discern the good from the inner demons.

One of the keys to making a successful thriller is the ability to sustain the suspense long enough to hold viewer interest. That's especially true in a sci-fi context, where maintaining the level of mystery and intrigue can definitely create an engrossing edge-of-the-seat quality. However, this requires a delicate degree of balance; dragging on matters too long can try the audience's patience, while playing one's hand too soon can shortchange those who paid good money to see an engaging cinematic experience. Regrettably, director Michael Pearce's second feature succumbs to the latter, leading to a protracted (and sometimes over-the-top) end run in which much of the deliberate ambiguity that makes the picture's opening sequence interesting is prematurely dispelled. The film thus arrives at its big reveal at a point where a little more narrative tease is called for (and would have made for a much better picture). Riz Ahmed delivers yet another fine lead performance, backed by the fine supporting work of two young actors, Lucian-River Chauhan and Aditya Geddada, along with some excellent (though occasionally derivative) camera work. Unfortunately, that's not enough to save this vehicle from itself. Indeed, the temptation to shoot the works may be exhilarating, but sometimes (as here) a little restrained patience can go a long way to telling a better and much more compelling story.