Ghost Trail

Mr. Bessa’s performance is a pained and bitter thing, his character committed to some form of justice even if the attempt to get it keeps him submerged in a traumatic past...

Jonathan Millet’s “Ghost Trail” takes a mostly conventional approach to this [crime thriller] blueprint, in which a protagonist loses his head (and his humanity), but it offers a novel context: the Syrian refugee crisis.

Jonathan Millet’s film is unconvincing and unnaturally contorted into its shape.

If the best revenge is living well, it is a truism that has not yet taken root for Hamid (a riveting Adam Bessa), the dark, scarred heart of Jonathan Millet‘s brooding, gripping Ghost Trail.

[Jonathan Millet and Adam Bessa's] combined efforts allow the film to marry some of the best aspects of spy thrillers and slow cinema in a portrait of the ways that wars haunt us long after we escape them.

Ghost Trail makes it look easy, but the movie walks a tricky line: It’s a juicy piece of entertainment that also engages sincerely with its painful, topical subject matter.

Ghost Trail is an effective thriller, to be sure, but mostly because it's one with an overwhelming sense of regret and an active conscience.

Ghost Trail is an impressive narrative feature debut, blending mystery and intrigue into a quiet character study.

Eschewing physical violence in favor of mounting psychological tension, this debut signals the arrival of a filmmaker discovering his power.

A solidly made, respectably tactful, and occasionally well written movie, but I’d be lying if I said I was fully engaged the entire way through.