Good movie, but best of all time? Hardly . . .

Fantastic!

An Exercise In Nonsense

The best films of this genre always show a path and provide a takeaway for being a better person.

A Girl Walks Home Alone at Night is an independent horror movie about a vampire wandering the streets of a desolated Iranian town. Visually the movie strongly references works by Tarantino and Lynch, as well as classic Westerns. Additionally, it exhibits a clever sound design with a peculiar blend of songs, that provide a great atmosphere. A Girl Walks Home Alone at Night succeeds, because it plays with existing genre tropes and uses them to tell the story of a strong woman.Overall 8/10

Another example of a poor attempt at art by making the film black and white, the film has no clear direction and is confused in what it wants to be, the western theme and music sticks out like a sore thumb and removes you from the dark/mysterious theme the movie is trying to go for.Acting is subpar,cinematography is decent, all in all this film is a mess with no real merit, I am not sure why this is labeled as horror besides the fact that the girl is a vampire, the film is trying to be different yet the result comes out ultimately pretentious.

Director took us into different world. Little bit unreal world, but very easily we can find some similarity to real world. Black and white make it even more unique. During watching it I have got the felling that everyone in the movie are lone riders. Loneliness between actors pushing them to be together even if there are lots of understatements. Beautiful soundtrack and the film keeps you on the edge of your seat.

This seemed to be the kind of pretentious, heavily referencing, derivative, black and white rubbish that critics crave here in the U.K., within the first 30 mins. Particularly the drug dealer, who seemed largely played for laughs in this otherwise sombre film. His demise was ridiculous, yet predictable and put it at the Tarantino end of the spectrum. Aware of the title, I thought it would simply be the 'girl' murdering various - entirely male - miscreants, with little story as context, just the offscreen politics, which would largely dictate whether you would enjoy this type of thing.Things started to change, however, when Sheila Vand came on screen. She has an undeniable magnetic presence. Some people just have it. She reminded me of Mia Wasikowksa in Stoker, though was less well served by the writer. The trajectory then takes a refreshing turn towards the intimate connection between her and Arash, an unexpected love interest. It then reminded me of Let The Right One In and even had much of the same powerful sense of innocence - as a thing that is never entirely 'lost'.Amirpour then deftly adds in a crucial complication for this new relationship, though she leaves it open whether this complication will be...fatal. She knows dramatic irony, especially by making Arash a peddler of the very thing that indirectly ends his Father's life.Much of it is overlong, languid and too clearly resembles Jarmusch or French or Italian art-house. I wish she had gone the Lynchian route, really invested in the subconscious angle.It's a memorable film though, if not a completely satisfying one, with a very strong central performance.