the film as the "horror equivalent of a destination wedding", and "more unsettling than frightening, [but] still a trip worth taking." Writing for Variety, Andrew Barker noted that it is "neither the masterpiece nor the disaster that the film's most vocal viewers are bound to claim. Rather, it's an admirably strange, thematically muddled curiosity from a talented filmmaker who allows his ambitions to outpace his execution." David Edelstein of Vulture praised Pugh's performance as "amazingly vivid" and noted that Aster "paces Midsommar more like an opera (Wagner, not Puccini) than a scare picture," but concluded that the film "doesn't jell because its impulses are so bifurcated. It's a parable of a woman's religious awakening—that's also a woman's fantasy of revenge against a man who didn't meet her emotional needs—that's also a male director's masochistic fantasy of emasculation at the hands of a matriarchal cult." In The New York Times, Manohla Dargis was critical of the character depth behind Dani and Christian, finding them "instructively uninteresting" and stereotypically gendered as a couple. Eric Kohn of IndieWire summarized the film as a "perverse breakup movie," adding that "Aster doesn't always sink the biggest surprises, but he excels at twisting the knife. After a deflowering that makes Ken Russell's The Devils look tame, Aster finds his way to a startling reality check." Time Outs Joshua Rothkopf awarded the film a 5/5 star-rating, writing, "A savage yet evolved slice of Swedish folk-horror, Ari Aster's hallucinatory follow-up to Hereditary proves him a horror director with no peer." For The A.V. Club, A. A. Dowd stated that the film "rivals Hereditary in the cruel shock department", and labelled it a "B+ effort". Writing for Inverse, Eric Francisco commented that the film feels "like a victory lap after Hereditary", and that Aster "takes his sweet time to lull viewers into his clutches ... But like how the characters experience time, its passage is a vague notion." He described the film as "a sharp portrayal of gaslighting". Richard Brody of The New Yorker said that the film "is built on such a void of insight and experience, such a void of character and relationships, that even the first level of the house of narrative cards can't stand." He added, "In the end, the subject of Midsommar is as simple as it is regressive: lucky Americans, stay home." Emma Madden in The Guardian criticised the film for its depiction