'Islands' Review
- Kyle Wolfe
- 3 hours ago
- 2 min read
Release Date: 01/30/26 [Cinemas]
Genre: Crime. Drama. Thriller.
MPAA: Not Rated.
Distributor: Greenwich Entertainment.
The Verdict: A Must-See
Islands is the kind of slow-burning character study that quietly sinks its hooks in rather than announcing its intentions up front. Directed by Jan-Ole Gerster, the film places its focus on isolation that exists even in the most picturesque environments, using its sun-drenched setting as a deliberate contrast to the emotional stagnation at its center. There is an immediate sense that something is off beneath the surface, not in a way that signals danger, but in a way that suggests a life stuck on pause. Gerster’s approach is patient and controlled, allowing the atmosphere to do much of the storytelling. The result is a film that invites you to sit with its discomfort rather than escape it.
Sam Riley delivers a performance that is quietly absorbing, built almost entirely on restraint and internalized conflict. His character feels worn down by repetition and routine, someone who exists in a constant state of emotional jet lag, never quite present no matter where he is. Riley’s performance works because it never overplays the character’s emptiness, instead letting small gestures and fleeting expressions carry the weight. The supporting cast, including Stacy Martin, adds texture to the film without ever pulling focus away from its central figure. While some characters feel intentionally underexplored, that absence ultimately reinforces the film’s themes rather than undermining them.
Visually, Islands makes smart use of its setting, framing the Canary Islands as both alluring and suffocating. The pristine beaches and endless sunlight feel less like paradise and more like a loop the character cannot escape. Gerster’s direction favors stillness and repetition, mirroring the emotional inertia that defines the film. There is a deliberate minimalism at work, one that may test the patience of viewers looking for overt narrative propulsion. However, the film’s rhythm feels purposeful, reinforcing its exploration of emotional disconnection and quiet despair.
By the time Islands reaches its closing stretch, it becomes clear that the film is less interested in resolution than in recognition. It captures a specific emotional state with clarity and confidence, trusting the audience to meet it on its own terms. Gerster shows shades of the observational precision seen in his previous work, but here the tone is more subdued and introspective. Islands may not resonate with everyone, particularly those craving momentum or clear answers, but for viewers attuned to its wavelength, it leaves a lingering impression. It’s a film that understands how loneliness can persist even in the most beautiful places, and it isn’t in a hurry to let you forget it.
