Tully keeps the thick soundscape of ominous noise and music churning, though favors disquieting undercurrents over the usual jumps and sudden shocks and more potent scares that would have made this a fuller-fledged horror entry. Which is by no means a negative. Leaving behind the minor-key comedy of his last feature, Ping Pong Summer, to return to the studied strangeness of 2011’s Septien, the director has fashioned a film that in many ways is a throwback to vintage Euro Gothic, overriding its occasional borderline campiness with resolute morbidity…

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