Fred Andersson’s review published on Letterboxd:
I haven't read or seen any other adaptions of the Japanese original Death Note, but let me say that I love the 1953 Godzilla, the 1974 Godzilla and even then 2014 Godzilla. What I mean is that a good product is a good product. And there we have Adam Wingard's already controversial Death Note, a Netflix original.
It's a great story (at least for us who have not relationship with the mythology), very well-written and the visuals are beautiful. Wingard knows what he's doing, giving the us a fine cast (especially Shea Whigham), tons of awesome practical gore and more or less a perfect slice of contemporary teen entertainment.
Without becoming a pastiche or even a tribute to eighties young adult films, Death Notes still reminds me of Wes Craven and Joe Dante's work from that time; the first one someone who cared for interesting and multilayered teen characters and gave them life, and the other with his stylish direction and dark humor - and the trademark of letting the characters watch an old horror movie on TV, but this time it's Phantasm and not Night of the Living Dead or Carnival of Souls.
The presence of John Carpenter's spirit also shines through; from the hypnotic use of electronic music to the form used in the end credits. But as I stated above, it never becomes a nostalgia wank fest and keeps its integrity.
Death Note easily ends up on my top ten list of best genre flicks in 2017. It's that good. I truly hope Netflix finances a sequel or series based on the excellent work here by Wingard and friends.