Azrael

The filmmakers give birth to a new nightmare, one overflowing in possibilities and, it should be noted, several purposefully unanswered questions. Azrael is a blood-soaked blast.

Weaving’s capable performance and the visceral siege horror ensure this dialogue-free experiment succeeds.

It’s chase sequence after chase sequence with hints of context here and there, just enough to hold the story together but not enough to fully explain everything.

E.L. Katz’s virtually dialogue-less horror film is watchable but would have benefited from more context and expository narrative resources.

While it features instances of righteous bloodshed, what its heroine is fighting for or against is too uncertain for even the most vicious action beats to be emotionally rousing.

Weaving is consistently giving “Azrael” her all—there’s just nothing giving back in return.

Azrael is a mostly effective near-future horror film that is short on talk but rich with suspense.

...'Azrael' falls short. It's effective, has two or three memorable sequences,...there's nothing particularly jarring, but nothing that excites you either until it takes fifth gear. [Full review in Spanish]

This horror movie with nearly no spoken dialogue is well-paced and plenty gory, but it gets bogged down in its lore, which seems simultaneously too complex and not complex enough.

Weaving’s performance is exemplary, particularly considering that she must convey a range of emotions — from love and loyalty to fear, grief and vengeance — without uttering a single word.