Guy Lodge Film CriticAn expensive new car slouches on the side of a deserted country road, unoccupied and unattended, while one passenger door hangs open, creaking disconsolately in the afternoon breeze.
It’s the kind of opening image that immediately warns you the film to come is up to nothing good, or at least nothing pleasant: “Coming Home in the Dark” never tells us who was behind the wheel of that abandoned car, though it gives us enough indirect detail to paint a pretty vivid, stomach-turning picture of what went down.
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