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IO (2019)

As a young scientist searches for a way to save a dying Earth, she finds a connection with a man who's racing to catch the last shuttle off the planet.
Duration: 96 min
Quality: HD
Release: 2019
IMDb: 4.7
Keywords:  #Anthony Mackie #Danny Huston #IO (2019) #Jonathan Helpert #Margaret Qualley
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Critics Of "IO (2019)"
Hollywood Reporter
January 18, 2019
It's not a good sign... when a movie ostensibly meant to rekindle one's faith in mankind makes you long instead for permanent apocalypse.
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Blu-ray.com
January 24, 2019
Helpert lingers on uninteresting details with glacial pacing, ending up with something best suited for off-Broadway than screens of all sizes.
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Common Sense Media
February 05, 2019
Bleak sci-fi dystopian tale has language, dark themes.
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New York Times
January 24, 2019
A film more interested in symbols of human resilience than in the flesh-and-blood passions that animate it.
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The Twisted Girl Next Door
January 28, 2019
A film that tries to come off deeper than it actually is.
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Spokesman-Review (Washington)
February 15, 2019
Even if the manner in which it unfolds is, in the end, fairly pedestrian, the message it strives to make definitely is not.
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Starburst
January 29, 2019
The slick cinematography can't prevent the film from buckling under the weight of its dull script, laborious pacing and forgettable characters.
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RogerEbert.com
January 18, 2019
IO isn't science fiction storytelling distilled so much as it is vaporized.
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Guardian
January 18, 2019
A fully formed Netflix original fit for streaming anytime, anywhere.
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Mashable
January 22, 2019
IO's clichéd reaches for emotional resonance continue throughout the film, landing each time with a hollow thud that left me begging for a toxic storm to wipe the characters and their broody monologues off-screen.
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Film Inquiry
February 04, 2019
A forced romance, lackluster execution, and a tendency to pander to its audience makes IO come up far shorter than it otherwise could've been.
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Sydney Morning Herald
February 07, 2019
It's still watchable enough, thanks to an unsettlingly ambiguous performance by Margaret Qualley...and a spot of clanging contemporary relevance.
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