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Lowery's nostalgia works because it is so sincere and does not question America's fascination with Bonnie and Clyde as an excuse for bad deeds.

Davis clearly relishes this role and delivers a standout performance, really letting rip.

There is an exercise in nostalgia from the fonts in the credits that seem serif-perfect to the liberal reapplication of Carpenter's original score.

Plemons’s performance captures the unease and guilt Mitchell feels, while reminding us that the agent is also putting on a performance during his meetings with O’Neal.

We are plunged straight into the emotional world of characters whose feelings for each other are as pertinent as their survival and combat skills.

The combination of its backwoods horror-style set-up, an excellent score from Michael Montes - at once childlike with a fairytale edge, yet quietly menancing - and the off-kilter but nice-as-mom's-apple-pie characters gives the comedy its disturbing edge.

The film gaily sets about asking a number of questions it has no intention of answering.

The plot may be clear and the tonal shifts from comedy to erotica and horror impressively handled but the character motivations are frustratingly fuzzy.

An astounding film.

This Is Martin Bonner is undoubtedly a small film but it is finely crafted and has a big heart.

Emphasising texture over tension, Undertow plays like a mud-splattered Hansel and Gretel.