Wonder how big the "Hated Hereditary, Loved Midsommer" crowd will be. Looking back at my review of Hereditary, my deep hatred did not have a lot of specific impetus. There was a sense that I demanded a point to the horror, elsewise it evokes the dread T.P. label. But though Midsommer very much feels a film from the same director: the assertive visual style, the generally quiet dread of the uncanny, the role of the pagan mystery, in this one the thematic function of the horror dug into me and didn't let go, even if sometimes things got a bit unwieldy.
For me the thing that was most potent was taking Dani's family story, established early, with her sister killing her parents and committing suicide, leaving her without family, and laying it against this weird commune that on multiple occasions adopts a group empathy (of sorts) in taking on as a group the pain (physical or emotional) of members of the group. This seems to be speaking to the pain experienced by those of a family (and friend group) when they experience loss. The pain of depression (or bi-polar) and suicide reverberates beyond. Similarly it may comment on the often limited nature of modern Western community in comparison to this rich society that subjugates the individual to the group (in a very uncomfortable way).
Florence Pugh and Jack Reynor are both previous Filmspot-nominees (IIRC, at least on my ballot), but Pugh definitely shines stronger here. Somewhat the fault of the character, Reynor is just a bit too icy here. I had a particular problem reading his character's state as Dani gets further enmeshed in the community.
In the broader sense, this film is in the tradition of The Wicker Man or Apostle, with a touch of Cabin In The Woods. Those are all very well regarded by me, so I guess I shouldn't have been apprehensive (because of Hereditary).