Metacritic reviews

This is a fast and lean film, an absolute workout for its outstanding cast and a devilish roller coaster ride for audiences. It’s funny, disturbing, cringeworthy, nerve-wracking and, for some, will feel a little too realistic.

The subtle pleasure of watching Tyrel comes from raising an eyebrow at every inferred (implied?) slight.

Sebastian Silva's latest is no retread of Jordan Peele's more-than-a-thriller breakthrough. Instead of envisioning how smiling white faces might hide evil intent, Tyrel observes how wounds can fester, doing damage long after unaffected parties would have assumed everything was fine.

Silva is a shrewd storyteller, uninterested in genre conventions or shock value; rather, he’s using that tension to tease out the anxieties of ordinary life and interactions.

Not giving into audience expectations and thus creating something more terrifying in its relatability, Sebastián Silva’s TYREL follows a testosterone-heavy weekend and the anxiety-inducing isolation one character is faced with.

Tyrel establishes its intentions within the opening minutes, and more or less follows a straightforward trajectory in its trenchant exploration of race relations.

Sebastián Silva never indulges platitude, and so the qualified hope of the film’s ending isn’t merely affirming but also miraculous.

Sharply observed but lacking in the probing psychological insights of Silva’s best movies, Tyrel is a chamber piece whose rhythms feel entirely natural (it’s shot in cast member Arze’s house), but which doesn’t resonate greatly after the fadeout.

Chilean-born writer-director Sebastián Silva (“Nasty Baby”) gives us an intimate mumblecore (lots and lots of talking) allegory about the struggle to maintain your identity when everything around you seems to subsume it.

Tyrel boasts some fine performances and some compelling ideas, but ultimately, it plays like a version of Jordan Peele‘s “Get Out” where nothing happens.