The Signal

You spend a lot of the movie confused, but the great big reveals of its finale don't feel very shocking at all.

There's something welcome about a motion picture that doesn't hand out a dumbed-down resolution in a neatly wrapped package.

Eubank could have a terrific future as a director. As a screenwriter, though, maybe not so much.

There's bravura manipulativeness to The Signal, the stylish, slyly funny question mark of a movie from director and co-writer William Eubank.

The Signal is too ambitious for its own good, but it is still a pleasure to watch.

Eubank's talent is not at all in doubt, and science-fiction mavens who embrace this picture will rightly be excited for whatever he turns to next.

The Signal is clever in its execution of recycled concepts.

Part horror, part sci-fi but totally engrossing, William Eubank's The Signal is a small scale production that thrives on some very big ideas.

Adequately creepy, flashy, and/or exciting when the story calls for it, but considerably more interesting for its quieter, craftier moments.

It's a movie of ideas rather than spectacle (Philip K Dick's dreamy electric sheep are inevitably invoked) with some well realised visual effects (a la Ex Machina) giving it genre legs.

While following familiar sci-fi codes, what makes The Signal unique is the way it's transmitted. Because just when you think you've found its wavelength, it switches to another.