A mercilessly convoluted version of a Twister, that genre in which the plot whacks us as if it's taking batting practice. I will not hint at anything that happens. I will simply observe that it's all entertaining.Read Full Review »
63
Philadelphia Inquirer: Steven Rea
A smart aleck-y kidnapping caper that whooshes around to a thumping electronic beat.Read Full Review »
50
Boston Globe: Wesley Morris
Guy Ritchie made a name for himself with scuzz, but even his shtick has exceeded its sell-by date. Nobel Son goes further, crossing the contortions of "The Usual Suspects" with the shallowness of certain intellectual family melodramas.Read Full Review »
40
LOS ANGELES TIMES: Robert Abele
Shows strains of stylistic overkill with egregious flash-edit tricks and sped-up camera moves, while the signal-flare plotting indicates that perhaps a bit more time could have been taken on the screenplay.Read Full Review »
30
Washington Post: Philip Kennicott
It's all wildly implausible and occasionally fun, but it could be so much better if director Randall Miller (who co-wrote the screenplay) had thrown in a little more character development and excised a half-dozen crazy plot twists.Read Full Review »
25
ENTERTAINMENT WEEKLY: Owen Gleiberman
Randall Miller (Bottle Shock), appears to be trying to cross a bad Elmore Leonard thriller with a bad indie-festival family-angst comedy. He gives us the worst of both worlds.Read Full Review »
20
Village Voice: Tim Grierson
Director and co-writer Randall Miller is so ill at ease with the basic building blocks of the genre that Nobel Son quickly announces itself as one of those misbegotten clunkers where almost every creative decision isn't just wrong but tone-deaf.Read Full Review »
20
The New York Times: Manohla Dargis
An aggressively noisy exercise in style over substance about nasty people doing nasty things to one another in (sigh) Southern California.Read Full Review »
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