While it moves from a really strong start to weaker material across its clearly defined three acts (a largely action‑driven first, a rom‑com‑coded second, and a final act mixing melodrama and action), this is still a very funny film with brutally gripping violence and great chemistry between the two leads, despite the extremely sugary romance.

The injection of clearly anachronistic elements, such as the style of dress, the house, the car, and the school, creates a very striking atmosphere, as if we were watching a late‑50s or early‑60s horror film, both tonally and visually, but set in the present day.

While it is true that the film does not gain much momentum until its second half, when we finally learn about the danger and origin behind the “being”, once it gets there, the action becomes quite gripping and exciting.

A strange little film that lacks focus and misses the mark in the areas where it tries to move the audience.

Initially elevated by the novelty of its format, telling two different stories while avoiding a traditional episodic structure, but with its interest and originality unfortunately fading fairly quickly, this is an uneven film with generally amateurish acting (although this seems like a directorial choice, given the plot), with the exception of a magnificent cinema receptionist character. At the same time, it features incredibly ridiculous twists that do bring some enjoyment and laughs, although it ultimately leads to a rather dull resolution.