Stake Land Reviews

  • Ryan Samul's cinematography and Jeff Grace's score pick up the slack, smoothly maintaining an unstable atmosphere of lurking horror.

    Jeannette Catsoulis — New York Times

  • Other undead movies needlessly foreground the action. "Stake Land'' has its fight scenes, but here they're secondary.

    Ethan Gilsdorf — Boston Globe

  • It's an ambitious hybrid, grafting the ethereal, landscape-driven, light-infused beauty and naif narration associated with Terrence Malick onto a tale in which struggle against supernatural forces is just one challenge of coming of age.

    Karina Longworth — Village Voice

  • Fans of Cormac McCarthy's "The Road" will find much to enjoy in this sombre and nerve-wracking postapocalyptic horror film, directed and co-written by Jim Mickle.

    Bruce Diones — New Yorker

  • Director Jim Mickle, who co-wrote the film with his star Nick Damici, has crafted a good-looking, well-played and atmospheric apocalyptic vision.

    Roger Ebert — Chicago Sun-Times

  • Mickle has talent, and the end credits include a character known as "French Canadian Cannibal," which is worth a half-star right there.

    Michael Phillips — Chicago Tribune

  • Mickle's observation of a devastated working-class America is so sharp that the horror elements, though effectively handled, come to feel like an afterthought.

    Ben Sachs — Chicago Reader

  • There isn't much dialogue, and most of the 98-minute running time is devoted to locking in one terrifyingly gothic encounter after another, but the characters are well defined, and director Mickle makes every dime of his micro-budget count.

    Rex Reed — New York Observer

  • A highly satisfying low-budget horror-thriller.

    Alissa Simon — Variety

  • Some numbers are too large to contemplate. How many drops of water are there in the ocean? How many grains of sand are there in the desert? How many more apocalyptic zombie movies must I sit through?

    Kyle Smith — New York Post

  • A gritty, low-key hybrid of horror film and road movie that aptly demonstrates the stylistic flexibility of this undying genre.

    Justin Lowe — Hollywood Reporter

  • Shows that a savvy mixture of characterization, atmosphere and gore-eographed suspense can make even the most familiar fright tropes feel vaguely organic again.

    Robert Abele — Los Angeles Times

  • Stake Land is intelligently rendered horror. It's a cut above more recent efforts, being an accomplished and thoughtful piece of work and an overall, enjoyable watch.

    Alan Diment — We Got This Covered

  • Stake Land has strong characters, a lucid script, plenty of action, and something more substantial to make it better-than-average.

    James Plath — Movie Metropolis

  • May be the best blunt-force-trauma, tear-your-throat-out vicious vampire film since Near Dark.

    Michael W. Phillips, Jr. — Goatdog's Movies

  • it's as dark as Harry Potter 19 might have been, and keener on exploring deeper themes than having an all-slaying, all-spurting, all-squirting orgy of fangbanging fun.

    Russell Lewin — SFX Magazine

  • More admirable than fulfilling, expelling more effort with atmosphere than story, wasting time with stares when legitimate tension is desperately needed.

    Brian Orndorf —

  • What sets this movie apart, however, is the appearance of a bizarre religious cult that could be more dangerous than the monsters. If only it had gone farther...

    Jeffrey M. Anderson — Combustible Celluloid

  • There's a scruffy immediacy to the direction... but also a grace to the imagery and a commitment to the performances.

    Sean Axmaker —

  • The Road on supernatural steroids, the New York Times called it, and that's a pretty good short handle for it.

    Andrew L. Urban — Urban Cinefile

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