The act of “dying” technically runs in every family, though probably no more so than in the Graham family, who seem completely unable to escape the looming nature of death around every possible corner they happen to be standing by, and what makes death so traumatic (besides the obvious) is that it’s so extremely uncomfortable, forcing us to obsessively contemplate, about everything: our pasts, presents, futures… death makes us reminisce about the life of the now deceased, no matter how much we do not want to, partially to try and figure out what, or, more accurately, who, is to “blame” for all of this, a blame which often inevitably gets directed back towards oneself, no matter how illogical the claim is since that blame can better be explained as a blatant representation of one’s own dissatisfaction with the life they’ve been dealt (and must continuing dealing with)… there’s plenty of all of that questioning, mourning, disinterest, obsessiveness throughout Ari Aster’s feature debut, but don’t be fooled by the more in-your-face promotion A24 has been dishing out for this one; it’s a much quieter, more subdued film than I could have ever predicted (so much more so than any of Aster’s short films, as well), but the underlying rage of it all bubbles over magnificently as we approach the final act, which absolutely delivers aplenty in many (stunning!) WTF moments.