The movie butts up against the director's newfound pretensions -- pseudo-philosophical voice-over, psychobabble, faux-art-film plotting -- and turns incomprehensible.Read Full Review »
40
Washington Post: Desson Thomson
Its main purpose -- and no, you are not experiencing ocular breakdown -- is spiritual.Read Full Review »
38
Philadelphia Inquirer: Steven Rea
Guy Ritchie's Revolver premiered at the Toronto International Film Festival two years ago September. That's 26 months on a shelf somewhere, depriving moviegoers the thrill of jaw-droppingly awful Ray Liotta line readings, of bloody shoot-outs, bags of money, cutaways to frosty babes sucking on lollipops, and even a bit of violent anime.Read Full Review »
30
LOS ANGELES TIMES: Kevin Crust
The result is a film that's main crime is inducing stupefying boredom with little payoff in the end.Read Full Review »
30
Village Voice: Nick Pinkerton
It's no return to rock, this, but rather Ritchie's soporific, proggy-conceptual Film of Ideas, with Vivaldi interludes, fussbudget set design, recurrent references to chess, and a hit man inexplicably got up as Tati's Mr. Hulot.Read Full Review »
25
ReelViews: James Berardinelli
Surprise of surprises, Revolver turns out to be worse than "Swept Away" - and not just by a little bit.Read Full Review »
25
Boston Globe: Wesley Morris
The latest Guy Ritchie shoot-em-up, is a joke. You laugh with it but mostly at it.Read Full Review »
12
CHICAGO SUN-TIMES: Roger Ebert
It is a "thriller" without thrills, constructed in a meaningless jumble of flashbacks and flash-forwards and subtitles and mottos and messages and scenes that are deconstructed, reconstructed and self-destructed. I wanted to signal the projectionist to put a gun to it.Read Full Review »
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