\”I was disappointed in the flow of the story in 'I Saw The TV Glow'. Despite this, the melancholy feel of the film is beautifully conveyed throughout, enhancing its themes effectively. The visuals are stunning, and the combination of top-tier editing and visual effects elevates the cinematography to an exceptional level. The film’s melancholic atmosphere is one of its strongest points. This pervasive mood adds depth to the narrative, making the emotional and thematic content more impactful. For example, scenes depicting the isolation and struggles of the characters are visually striking, with a muted color palette and hauntingly beautiful landscapes that mirror their inner turmoil. The layered storytelling warrants another viewing to fully appreciate the intricate details and symbolism woven into the film. The film also provides a profound look into the LGBTQIA+ community, offering perspectives that encourage empathy and understanding. After watching it, I felt compelled to have an open conversation with my sons about the importance of being able to talk openly about anything, assuring them of our unwavering support. This horror movie effectively portrays the harsh realities that no person should have to endure, making its social commentary both relevant and poignant. The direction and performances were lackluster. Their portrayals are emotionally charged and authentic, bringing a raw intensity to their characters. While Ian Foreman and Brigette Lundy-Paine deliver memorable performances, the supporting cast falls short. Justice Smith’s character, Owen, is particularly underwhelming. His character lacks depth and is only marginally more interesting in scenes with Lundy-Paine. The supporting characters are mostly forgettable, which diminishes the film's overall impact. The TV show set within the film, The Pink Opaque, and its antagonist, as well as the overall antagonist of the film, are clearly meant to be metaphorical. However, the vague nature of these elements, while potentially serving as a good analogy, ultimately hurts the story by leaving too many questions unanswered. A bit more backstory and clarity would have enriched the narrative and provided a stronger connection to the metaphorical themes. I Saw The TV Glow is a film with commendable visual and thematic depth but falters in its storytelling execution. The melancholy atmosphere, stunning visuals, and strong lead performances are highlights. The film is worth watching for its social commentary and emotional resonance, but it falls short of being a fully engaging cinematic experience.”

TheSceneSnobs

\”Necessity and Style, lacking Substance ‘I Saw the TV Glow’ offers an important message that is evidently hitting the hearts of the people who need to hear it, and the beautiful visuals bath it in emotional colour. It would have been served with more depth, detail, and structure, but it does what it set out to do. If it doesn’t hit for you, you’re probably not the intended audience.”

ekaari

\”Told using a verity of storytelling techniques, this is a curious film that certainly has a potent point to make but somehow it just can't get there. It's all about the relationship between two folks on the periphery of society. "Owen" (Ian Foreman then Justice Smith) lives with his parents whilst "Maddy" (Brigette Lundy-Paine) abides with her indifferent mother. She's a few years older than he, and they initially bond over a television show called "Pink Opaque" that she has been watching for a few seasons, but it's on past his 10.15 bedtime. She makes it pretty clear that her sexual interests lie elsewhere but he, not remotely bothered, just wants to see the show. A sleepover starts the ball rolling on their enigmatic friendship that invites us to consider a range of issues surrounding sexual and gender identity, fluidity and the sometimes quite traumatic effects these can have on people emotionally and psychologically ill-equipped to deal with at a young age. The use of the television series is quite an effective conduit for the theme as it uses the super-natural to instil both an element of fear and an element of the ridiculous - especially the ice cream man and the totally non-menacing "Mr. Malevolent" whose purposes and dynamic evolve as the characters do throughout the narrative. Suddenly, she goes AWOL for ten years then returns to his life with questions to ask and to answer, but is she still the same person and are either of them any more at ease with whom they truly are? It has brief moments to lighten the mood, but for the most part it's quite an intense and slowly paced look at two characters that I just didn't feel I knew. I suspect this may resonate intensely with people dealing with gender identification complexities, but for the rest of us it pointed us in the right direction but then more or less abandons us to infill too much of the personalities of "Owen" and "Maddy" to fit our own expectations or aspirations for them. It's as if auteur Jane Schoenbrun has given us the edge of the jigsaw puzzle and left us to do the rest - without there necessarily being a right way to do it. It also has one or two goes at bringing things to a conclusion - or as much of one as we are to actually have, and that didn't really work for me. I didn't need "the end", but what we did get was a bit frail. It is an intriguing piece of cinema at times, but for me it lost it's way.”

CinemaSerf

\”I was hoping this was a Helloween 3 remake. Way too much filler. Who needs to see bands performing? Monologues... It's deep but I wasn't buying. Hellish ending. Really cool shots. Creepy shots. Well shot.”

Chandler Danier