Kröger manages well with moments of pure cinema in between, and a particularly out-there moment of noise and mayhem which threatens to crush the film and the audience in an audiovisual avalanche. There’s an immersive strangeness that only David Lynch has snuck into mainstream cinema.
The result is more admirable than captivating, losing its way in old school hijinks (wacky professors, evil spies, a femme fatale) that grow outlandishly phantasmagorical as the plot thickens.