Similarities between Alex Thompson's Saint Frances (2019) and Rounding (2022) end with being character-driven. Totally coincidentally, Rose Glass's Saint Maud (2019) fans will probably, like me, find Rounding a 10/10.
Focused on our protagonist throughout, the audience are confronted with some things like dealing with novel PTSD (novel in cinema - common IRL i'd imagine) that will not be pleasant for everyone. Unlike genre horror, the gore is equally thought-provoking and sickening. I'd guess there's intention in the queasiness being induced to Rounding's audiences.
Noteworthy are some great practical effects and plenty of film-making craft. Step right up, sofa sleuths. There's ample and very serious thought, sweat, and tears on display from behind-the-camera and especially from relative unknown lead Namir Smallwood with an incredible performance in such a difficult and wide-ranging role.
This isn't big-budget and to be blunt, I'm grading on a curve. Objectively, it's not perfect, but I'd recommend it 10-fold to whatever CG-by-number sequel's on deck at the megaplex.
Focused on our protagonist throughout, the audience are confronted with some things like dealing with novel PTSD (novel in cinema - common IRL i'd imagine) that will not be pleasant for everyone. Unlike genre horror, the gore is equally thought-provoking and sickening. I'd guess there's intention in the queasiness being induced to Rounding's audiences.
Noteworthy are some great practical effects and plenty of film-making craft. Step right up, sofa sleuths. There's ample and very serious thought, sweat, and tears on display from behind-the-camera and especially from relative unknown lead Namir Smallwood with an incredible performance in such a difficult and wide-ranging role.
This isn't big-budget and to be blunt, I'm grading on a curve. Objectively, it's not perfect, but I'd recommend it 10-fold to whatever CG-by-number sequel's on deck at the megaplex.