The horror thriller Resurrection is bonkers in the best way

polygon.com:

Resurrection hinges on a seven-minute monologue that shifts the film from a paranoid psychological thriller into something far stranger and more primal. The tonal gambit writer-director Andrew Semans is attempting in this film is tricky, to say the least. And the whole thing simply wouldn’t work without The Night House’s Rebecca Hall. In Hall’s capable hands, that monologue is laden with dread. In one unbroken shot, her character, Margaret, gives the audience some crucial context by relaying a story from her past — the type of story that makes viewers’ stomachs drop to their knees. Coming from most anyone else, it might just produce giggles.

Margaret is a well-dressed pharmaceutical executive with a razor-sharp bob haircut. Her life revolves around two things: her job and her 17-year-old daughter, Abbie (Grace Kaufman). Abbie’s father is not, and has never been, in the picture. But that’s fine, because the hyper-competent Margaret has always been more than enough parent for her only child. Disciplined to the point of masochism, Margaret herself has no friends, save for a no-strings-attached affair with a married co-worker. And she likes it that way. But now that Abbie is getting ready to go away to college, Margaret can feel her sense of control over her life beginning to slip.

It’s debatable whether what happens next is actually real, or whether some (or even all) of it is in Margaret’s mind. It could all be part of a psychotic break, resulting from an oncoming 18-wheeler of psychological fragility tied to Abbie growing up and not needing her mother anymore. Semans plays it straight, launching into a stone-faced series of increasingly unsettling events that begins when Margaret spies David (Tim Roth) sitting in on a