One and Two

Gorgeous and naturalistic shots by cinematographer by Autumn Durald speak volumes, and the atonal, foreboding score by Nathan Halpern creates a sense of dread, though they are ultimately squandered in an underdeveloped story.

"One and Two" never feels as momentous or as angsty as a good story about moody teenagers should, and that's mostly because the film lacks a menacing parental adversary.

The film tries, unsuccessfully, to walk the same eerie, atmospheric trail as "The Village" by M. Night Shyamalan, or any number of Stephen King works.

Sally Draper leaps to the big screen in this slight, sumptuous drama about teleporting teens.

Disparate influences percolate but never quite cohere in Andrew Droz Palermo's first narrative feature One & Two, which while atmospheric and beautifully lensed ends up being a touch too elliptical for its own good.

There are simply too many loose ends to distract us, and too much empty air in which audiences can't help but poke holes.

Quiet and contemplative, One & Two is confident in the story it wants to tell and achieves so with remarkable poise.

It's a very handsomely made film, the performances are very good, and Palermo's understated vision is definitely intriguing. We just can't help wishing that there was a bit more to it.

Every half-hearted plot twist and supposedly startling jolt underlines just how feeble and derivative this all is. The end result is just silly rather than scary.

It's like Terrence Malick were making a superhero origin story. The lack of explanation wouldn't be a problem if the ending didn't feel somehow predictable and lethargic, but the cast help make this watchable.

It looks beautiful and there is an interesting denouement, but it disappoints; the build-up just isn't developed enough for it to matter.