Reviews provided by RottenTomatoes
Matt Zoller Seitz,
New York Times:
This three-part horror movie directed by a trio of Atlanta filmmakers is set during the collapse of Terminus, a fictional city whose citizens are being driven to rage.
None of the rabbit holes in The Signal go that deep. But you do leave persuaded that you've discovered some talented people.
The Signal is electrifying, deliciously mad and twisted filmmaking. It's certainly not for everyone, but chances are it will inspire many.
This Look Ma, no hands! And no head either! horror film makes a Mixmaster stew out of Poltergeist, Invasion of the Body Snatchers, Re-Animator, They Came From Within, and Shaun of the Dead.
It's all screwball fun until someone gets bugsprayed down the throat.
The Signal is a well-oiled example of that oxymoronic Tarantino phenomenon: the arty grindhouse picture.
Ultimately, The Signal doesn't rewrite the rules of horror, the way those masters did. But its filmmakers do provide a creepy, bloody good show.
New York Post:
A slasher fest that references such predecessors as George A. Romero's Night of the Living Dead and Pulse, a 2001 chiller by Japan's talented Kiyoshi Kurosawa, while still remaining original.
It doesn't take long for the The Signal's promising beginning to fade into a haze that leaves the viewer exhausted and irritated.
A movie that explores the common ground between visceral horror and sketch comedy, and finds plenty of it.
Minneapolis Star Tribune:
With just one compelling sequence emerging from so many filmmakers' efforts, The Signal is decidedly less than the sum of its parts.
Thesps get seriously into the roles, rendering the situation that much funnier.
This uneven but impressive shot-on-digital shocker earns a marker in the mausoleum of apocalyptic horror -- a genre that's proving (un)surprisingly durable in the new century.
In a movie about perception, misperception and the ramifications of misunderstanding, it's a bit ironic that the directors can't get out of one another's way.