Metacritic reviews

Both apocalyptic and suitably vague, The Signal's only serious weakness comes from some borderline histrionic performances; then again, it's tough to call hysteria anything other than a sane response to a world gone mad. Crazy, man.

It has a creepy power all its own.

Unlike traditional zombie romps, these crazies don't stumble around mindlessly, noshing on human flesh. They look and act like normal people - until the second they go bonkers.

The Signal is like a Romero zombie movie in which the zombies aren't dead, they're just really temperamental. Evil here is technology-born. Maybe our cellphones and satellite dishes are giving us all the crazy.

Part 1, directed by David Bruckner is superb, with affecting performances, a sense of dread reminiscent of John Carpenter’s “Prince of Darkness” and many striking images. Part 2, directed by Dan Bush aims for George Romero-style ghastly humor, but it’s more grating than funny. Part 3, directed by Jacob Gentry adds a splash of tragic love, but its preference for gore over feeling becomes monotonous.

Mostly comes down to rage fiends going at one another with baseball bats, knives, pesticide tanks, and power drills.

This uneven but impressive shot-on-digital shocker earns a marker in the mausoleum of apocalyptic horror--a genre that's proving (un)surprisingly durable in the new century.

In a movie about perception, misperception and the ramifications of misunderstanding, it's a bit ironic that the directors can't get out of one another's way.

Just another low-budget effort from filmmakers who mistake cleverness for smarts.

The Signal combines the inconstancy of an omnibus film with the blandness of art by committee. The end result feels less like a blend of distinct styles than an opportunistic hodgepodge, a second-hand premise wedded to an attention-grabbing gimmick.