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Story strands feel half developed; pacing seems erratic.
In its highly combustable, confusing, angry environment, where everyone from parents to rioters to cops is just making it up as they go along, the only thing that seems to matter are the underlying drives, whether it’s goodheartedness or resentment.
The sprawl of it, the seeming disorganization, all work to its advantage and betray Kings' ambition. Ergüven wasn’t going for documentary, she was aiming for an impressionistic “feel” — terror, outrage, helplessness, a city and a system that aren’t built for you, even when you’re hurt, even when you’re in trouble.