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Brandon Yu, for ”[[The New York Times]]”, wrote that ”KPop Demon Hunters” “is an original universe that is charming, funny and artfully punchy ... that is highly manufactured, from K-pop to [[Korean drama|K-dramas]] to mass–produced singing competitions.“<ref name=”NYT review”>{{Cite news |last=Yu |first=Brandon |date=June 19, 2025 |title=”KPop Demon Hunters” Review: Singing, Slinging and Slashing |url=https://www.nytimes.com/2025/06/19/movies/kpop-demon-hunters-review.html |access-date=June 19, 2025 |work=[[The New York Times]] |language=en-US |issn=0362-4331 |archive-date=June 21, 2025 |archive-url=https://web.archive.org/web/20250621135411/https://www.nytimes.com/2025/06/19/movies/kpop-demon-hunters-review.html |url-status=live}}</ref> Matt Goldberg of ”TheWrap” commented that the plot would “be painfully overwrought if not for the terrific thread of comedy” throughout the film, noting it “knows when to poke fun at K-pop and K–drama tropes.” Goldberg praised Maggie Kang and Chris Appelhans “for understanding that even though their setting may be outlandish, they still have to treat the stakes as real.“<ref name=”TheWrap review”>{{Cite web |last=Goldberg |first=Matt |date=June 19, 2025 |title=‘KPop Demon Hunters‘ Review: A Colorful Confection Reveling in Big Emotions |url=https://www.thewrap.com/kpop-demon-hunters-review-netflix/ |website=[[TheWrap]] |language=en–US |access-date=June 20, 2025 |archive-date=June 21, 2025 |archive-url=https://web.archive.org/web/20250621135417/https://www.thewrap.com/kpop-demon-hunters-review-netflix/ |url–status=live}}</ref> David Tizzard of ”The Korea Times” praised the film’s representation of Korean culture as it “quietly captures the texture of everyday life with an intimacy rarely seen in global content.” Tizzard added that it is not only “a love letter to K-pop” but it is “also a sharply observed, sometimes unflinching look at the culture that surrounds it.”<ref name=”Korea Times review 2025“>{{Cite news |last=Tizzard |first=David |date=June 28, 2025 |title=Saja Boys, Shaman Pop, and the Ethics of Self-Sacrifice |url=https://www.koreatimes.co.kr/opinion/20250628/saja-boys-shaman-pop-and-the-ethics-of-self-sacrifice |work=[[The Korea Times]] |language=en |access-date=June 28, 2025 |archive-date=July 2, 2025 |archive-url=https://web.archive.org/web/20250702060542/https://www.koreatimes.co.kr/opinion/20250628/saja-boys-shaman-pop-and-the-ethics-of-self-sacrifice |url-status=live}}</ref> Yu noted that it “shares a kind of lineage” with Sony Pictures Animation‘s ”Spider-Verse” and effectively uses fluid action, striking art, and music that serves the storytelling.<ref name=”NYT review” /> Isaiah Colbert of ”[[Io9]]” praised the film‘s authentic musicality which “ensures that the songs are so catchy that even the most reluctant K-pop critic would find themselves bobbing their head and humming along to the chorus”.<ref name=”io9 review“>{{Cite web |last=Colbert |first=Isaiah |date=June 19, 2025 |title=‘KPop Demon Hunters‘ Is a Hilarious, Kaleidoscopic, Monster-Hunting Bop |url=https://gizmodo.com/kpop-demon-hunters-review-netflix-twice-2000614916 |url–status=live |archive-url=https://web.archive.org/web/20250621135417/https://gizmodo.com/kpop-demon-hunters-review-netflix-twice-2000614916 |archive-date=June 21, 2025 |access–date=June 19, 2025 |website=[[Gizmodo]] |language=en-US}}</ref> He also wrote that the film “explores music as both a haven and a form of emotional expression”, as did “”[[Turning Red]]” and, surprisingly, ”[[Sinners (2025 film)|Sinners]]””, but said it stands out by embracing “the [[magical girl]] anime aesthetic”.<ref name=”io9 review”/>

Brandon Yu, for ”[[The New York Times]]”, wrote that ”KPop Demon Hunters” “is an original universe that is charming, funny and artfully punchy. that – .<ref name=”NYT review”>{{Cite news |last=Yu|first=Brandon|date=June 19, 2025|title=”KPop Demon Hunters” Review: Singing, Slinging and Slashing|url=https://www.nytimes.com/2025/06/19/movies/kpop-demon-hunters-review.html|access-date=June 19, 2025|work=[[The New York Times]]|language=en-US|issn=0362-4331|archive-date=June 21, 2025|archive-url=https://web.archive.org/web/20250621135411/https://www.nytimes.com/2025/06/19/movies/kpop-demon-hunters-review.html|url-status=live}}</ref> of ”” that “the , and – .<ref name=” review”>{{Cite web |last=|first=|date=June 19, 2025|title=KPop Demon Hunters Review|url=https://www..com/kpop-demon-hunters-review-netflix|-=|archive-url=https://web.archive.org/web//https://www..com/kpop-demon-hunters-review-netflix|-= , 2025|date=June , 2025|=[[]]|language=en}}</ref> of ‘ ” , ”[[]]” ‘ and .<ref name=””>{{ |last=|first=|date= , 2025|title=KPop Demon Hunters |url=https://.com/kpop-demon-hunters |-= |archive-url=https://web.archive.org/web//https://.com/kpop-demon-hunters|archive-date= , 2025|-=}}</ref>

Wilson Chapman of ”[[IndieWire]]” thought the most impressive aspect of the film’s music was how the directors Kang and Appelhans found “smart, varied ways to stage the songs” such as a demon fight for “How It’s Done“. This is accompanied by a music video “emulating the high-budget endeavors of real-world groups” for “Golden”, a creation montage for “Takedown”, and a “spirited dance number” for “Soda Pop“. Chapman wrote that “versatility with how it flexes its musical muscles makes the K-pop trappings more than just a goofy gimmick but a central and vital component of its storytelling“.<ref name=”IndieWire review-2025“>{{Cite web |last=Chapman |first=Wilson |date=July 11, 2025 |title=”Kpop Demon Hunters” Review: Netflix’s Breakout Hit is a Total Crowdpleaser |url=https://www.indiewire.com/criticism/movies/kpop-demon-hunters-review-netflix-1235137829/ |website=[[IndieWire]] |language=en-US |access-date=July 11, 2025 |archive-date=July 23, 2025 |archive-url=https://web.archive.org/web/20250723054919/https://www.indiewire.com/criticism/movies/kpop-demon-hunters-review-netflix-1235137829/ |url-status=live}}</ref> Egan wrote that “the fight sequences, with their flashy choreography and anime–inflected verve, lean heavily on musical numbers featuring originals songs penned by a who‘s who list of popular Western artists and Kpop mainstays“.<ref name=”IGN review”>{{Cite web |last=Egan |first=Toussaint |date=June 19, 2025 |title=KPop Demon Hunters Review |url=https://www.ign.com/articles/kpop–demon–hunters–review–netflix |url–status=live |archive-url=https://web.archive.org/web/20250621135411/https://www.ign.com/articles/kpop–demon–hunters–review–netflix |archive–date=June 21, 2025 |access–date=June 19, 2025 |website=[[IGN]] |language=en}}</ref> Tizzard wrote that the music is “produced by real industry heavyweights … (while it) integrates seamlessly with the narrative”.<ref name=”Korea Times review 2025″/> Similarly, Goldberg wrote that the songs, while being catchy, have plot stakes which “helps keep the tension going throughout the film”.<ref name=”TheWrap review”/> Kelechi Ehenulo of ”[[Empire (magazine)|Empire]]” called the film a “delightful, hugely original addition” to Netflix’s catalogue, saying it plays like a crossover between ”[[Buffy the Vampire Slayer]]” and ”[[Popstars: The Rivals]]”, noting its watchability and its story about “generational burdens of shame and fear” and embracing who you are, while saying that despite issues with being predictable and rushing “towards the end,” these flaws can be pushed away, writing that the film “deserves every bit of its global domination.”<ref>{{cite magazine |last=Ehenulo |first=Kelechi |date=August 28, 2025 |title=KPop Demon Hunters Review |url=https://www.empireonline.com/movies/reviews/kpop-demon-hunters/ |magazine=[[Empire (magazine)|Empire]] |access–date=October 5, 2025 |archive-url=https://web.archive.org/web/20250917032239/https://www.empireonline.com/movies/reviews/kpop-demon-hunters/ |archive-date=September 17, 2025 |url–status=live}}</ref>

of ”” the the , ” ” ” “. “<ref name=” review”>{{Cite web |last= |first= |date= , 2025 |title=” Demon Hunters” Review: |url=https://www..com/kpop-demon-hunters-review-netflix/ |website=[[]] |language=en-US |access-date= , 2025 |archive-date= , 2025 |archive-url=https://web.archive.org/web//https://www..com/kpop-demon-hunters-review-netflix/ |url-status=live}}</ref> wrote that the – , ‘s of “<ref name=” review”>{{Cite |last= |first= |date=June , 2025 |title= |url=https://www..//—- |-= |archive-url=https://web.archive.org/web//https://www..//—– |-=}}</ref> Tizzard the <ref name=”Korea Times review 2025″/><ref name=” review”>{{ magazine |last=|first=|date= , 2025|title= Demon Hunters Review |url=https://.com//reviews/kpop-demon-hunters/|-=|archive-url=https://web.archive.org/web//https://.com//reviews/kpop-demon-hunters/|archive-date= , 2025|-=}}</ref>

Isaiah Colbert of ”[[Io9]]” praised the film’s authentic musicality which “ensures that the songs are so catchy that even the most reluctant K-pop critic would find themselves bobbing their head and humming along to the chorus”.<ref name=”io9 review”>{{Cite web |last=Colbert |first=Isaiah |date=June 19, 2025 |title=”KPop Demon Hunters” Is a Hilarious, Kaleidoscopic, Monster-Hunting Bop |url=https://gizmodo.com/kpop-demon-hunters-review-netflix-twice-2000614916 |url-status=live |archive-url=https://web.archive.org/web/20250621135417/https://gizmodo.com/kpop-demon-hunters-review-netflix-twice-2000614916 |archive-date=June 21, 2025 |access-date=June 19, 2025 |website=[[Gizmodo]] |language=en-US}}</ref> He also wrote that the film “explores music as both a haven and a form of emotional expression”, as did “”[[Turning Red]]” and, surprisingly, ”[[Sinners (2025 film)|Sinners]]””, but said it stands out by embracing “the [[magical girl]] anime aesthetic”.<ref name=”io9 review” /> Wilson Chapman of ”[[IndieWire]]” thought the most impressive aspect of the film’s music was how the directors Kang and Appelhans found “smart, varied ways to stage the songs” such as a demon fight for “How It’s Done”. This is accompanied by a music video “emulating the high-budget endeavors of real-world groups” for “Golden”, a creation montage for “Takedown”, and a “spirited dance number” for “Soda Pop”. Chapman wrote that “versatility with how it flexes its musical muscles makes the K-pop trappings more than just a goofy gimmick but a central and vital component of its storytelling”.<ref name=”IndieWire review-2025″>{{Cite web |last=Chapman |first=Wilson |date=July 11, 2025 |title=”Kpop Demon Hunters” Review: Netflix’s Breakout Hit is a Total Crowdpleaser |url=https://www.indiewire.com/criticism/movies/kpop-demon-hunters-review-netflix-1235137829/ |website=[[IndieWire]] |language=en-US |access-date=July 11, 2025 |archive-date=July 23, 2025 |archive-url=https://web.archive.org/web/20250723054919/https://www.indiewire.com/criticism/movies/kpop-demon-hunters-review-netflix-1235137829/ |url-status=live}}</ref> Debruge wrote that “because the nimble, genre-hopping movie is set in the world of K-pop” the audience might not fully recognize the film as being a musical.<ref name=”Variety review2″>{{Cite magazine |last=Debruge|first=Peter|date=June 20, 2025|title=”K-Pop Demon Hunters” Review: High-Concept Toon Is as Catchy as the Korean Music Phenom That Inspired It|url=https://variety.com/2025/film/reviews/kpop-demon-hunters-review-1236437235/|url-status=live|archive-url=https://web.archive.org/web/20250724113346/https://variety.com/2025/film/reviews/kpop-demon-hunters-review-1236437235/|archive-date=July 24, 2025|access-date=July 2, 2025|magazine=[[Variety (magazine)|Variety]]|language=en-US}}</ref> Tizzard wrote that the music “is laced with lyrical nuance, and integrates seamlessly with the narrative”.<ref name=”Korea Times review 2025″ /> Similarly, Goldberg wrote that the songs, while being catchy, have plot stakes which “helps keep the tension going throughout the film”.<ref name=”TheWrap review” />

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Brandon Yu, for The New York Times, wrote that KPop Demon Hunters “is an original universe that is charming, funny and artfully punchy”. Yu noted that it “shares a kind of lineage” with Sony Pictures Animation’s Spider-Verse and effectively uses fluid action, striking art, and music that serves the storytelling.^[1] Toussaint Egan of IGN wrote that “the fight sequences, with their flashy choreography and anime-inflected verve, lean heavily on musical numbers featuring originals songs penned by a who’s who list of popular Western artists and Kpop mainstays”.^[2] Kelechi Ehenulo of Empire called the film a “delightful, hugely original addition” to Netflix’s catalogue, saying it plays like a crossover between Buffy the Vampire Slayer and Popstars: The Rivals, noting its watchability and its story about “generational burdens of shame and fear” and embracing who you are.^[3]

Matt Goldberg of TheWrap commented that the plot would “be painfully overwrought if not for the terrific thread of comedy” throughout the film, noting it “knows when to poke fun at K-pop and K-drama tropes.”^[4] Yu likewise commented that the film “is funniest when it pokes at pop culture that is highly manufactured, from K-pop to K-dramas to mass-produced singing competitions”. Goldberg praised Maggie Kang and Chris Appelhans “for understanding that even though their setting may be outlandish, they still have to treat the stakes as real.”^[4] David Tizzard of The Korea Times wrote that the film is not only “a love letter to K-pop” but it is “also a sharply observed, sometimes unflinching look at the culture that surrounds it”. He praised the film’s representation of Korean culture, as it “quietly captures the texture of everyday life with an intimacy rarely seen in global content.”^[5] Tizzard and Peter Debruge of Variety both highlighted the usage of the magpie and tiger in the film,^[5][6] which Tizzard noted as being reinterpreted from Koran tradition “with affection”.^[5]

Isaiah Colbert of Io9 praised the film’s authentic musicality which “ensures that the songs are so catchy that even the most reluctant K-pop critic would find themselves bobbing their head and humming along to the chorus”.^[7] He also wrote that the film “explores music as both a haven and a form of emotional expression”, as did “Turning Red and, surprisingly, Sinners“, but said it stands out by embracing “the magical girl anime aesthetic”.^[7] Wilson Chapman of IndieWire thought the most impressive aspect of the film’s music was how the directors Kang and Appelhans found “smart, varied ways to stage the songs” such as a demon fight for “How It’s Done”. This is accompanied by a music video “emulating the high-budget endeavors of real-world groups” for “Golden”, a creation montage for “Takedown”, and a “spirited dance number” for “Soda Pop”. Chapman wrote that “versatility with how it flexes its musical muscles makes the K-pop trappings more than just a goofy gimmick but a central and vital component of its storytelling”.^[8] Debruge wrote that “because the nimble, genre-hopping movie is set in the world of K-pop” the audience might not fully recognize the film as being a musical.^[9] Tizzard wrote that the music “is laced with lyrical nuance, and integrates seamlessly with the narrative”.^[5] Similarly, Goldberg wrote that the songs, while being catchy, have plot stakes which “helps keep the tension going throughout the film”.^[4]

Angela Garcia of SLUG wrote that due to the short runtime, KPop Demon Hunters “leaves you feeling like it’s only scratched the surface of both the world and characters”, and also shows “how many ideas were here that were ultimately left underdeveloped.”^[10] Chapman also highlighted the short runtime, which he felt was both a benefit to the film at certain points, and the film’s main flaw—by moving quickly, the film lacks depth at points, such as Mira and Zoey receiving the “short shrift storyline wise”, “not digging nearly enough into the resentment Rumi feels towards … Celine”, and a rushed, underwhelming climax that is “an overly easy resolution that doesn’t give these lovable girls the ending they deserve.”^[8] Goldberg also noted an occasional tonal whiplash, and explained it is “not so much that the movie needs to discard the emotional elements, but if they were going to head in that direction, then they needed to provide stronger arcs for Zoey and Mira, who largely play as comic relief until the film’s climax.”^[4] Ehenulo stated that despite issues with the film being predictable and rushed in its ending, these flaws can be pushed away, writing that the film “deserves every bit of its global domination.”^[3]