Mona Lisa and the Blood Moon

The music score, by Daniele Luppi, is particularly fine while the cinematography, by Pawel Pogorzelski, is constantly impressive as the backstreets of New Orleans are transformed into a kind of garish hell on earth.

It’s a film with attitude, rather than passion, a series of lifeless tableaux in front of a conventional sin-city backdrop. If Amirpour wanted to send a message, it got lost in her ennui.

A thriller of striking colors and compelling characters.

[Mona Lisa and the Blood Moon] possess your senses at every one of its madcap turns.

This movie is like existentialist art, discovering its own meaning in the moment with each step its heroine takes.

The movie, more often than not, has the look and feel of an edgy music video, which wouldn’t necessarily be a problem if it weren’t also oddly boring.

Amirpour’s penchant for drifting, meandering stories is enticing here, aided by her use of supernatural elements and characters with strong personalities. And its Day-Glo aesthetic may be gaudy, but it is also vivid, hypnotic and unlike anything else.

Mona Lisa and the Blood Moon may be lacking in terms of substance, but Hudson’s performance is nearly enough to be worth tuning in for. It’s thrilling to see her absolutely thrive in a role that is so against type.

It’s all nonsense, obviously, but fun nonsense. Mona Lisa And The Blood Moon is made to be watched while scoffing crunchy snack foods and beer, if only because a lot of chips and beer go down on screen between bouts of telekinetic mayhem.

Like Carrie White before her, Mona Lisa lashes out not just at those who hurt her but at anyone in her way. But Mona Lisa and the Blood Moon lacks the humanity to acknowledge the difference.