All Critics (194)
|
Top Critics (42)
|
Fresh (160)
|
Rotten (36)
|
DVD (4)
The kind of messy, absurdist movie that can lift you out of a crappy mood-at least for a while.
This is one of the best times I've had at the movies in years.
All this narrative nesting and genre-skipping sounds very cerebral on the page, but in practice, Seven Psychopaths is as pleasurably kinetic as can be, full of double-crosses and gunplay and sun-kissed SoCal locations.
Each time it appears that McDonagh, who also directed, has written himself into a cul de sac, he off-roads the movie (sometimes literally) into fresh territory.
Yes, it's a lot to keep track of, but writer-director Martin McDonagh does so with deft humor as the film hurls toward a desert climax, foreshadowed in one of Billy and Marty's exchanges.
For about 75 minutes, Seven Psychopaths is a rollicking good movie - kinetic, clever, funny, and brutal. Then, inexplicably, it falls apart.
Martin McDonagh's Seven Psychopaths is a sharp piece of fun that both pokes at the current climate of filmmaking while also adding its own brand of humor to the mix.
Seven Psychopaths doesn't knuckle down and decide how to answer everything tossed out for consideration, but even when it feels like little more than intellectual, postmodern spitballing, it satisfies as an exercise in storytelling.
If it doesn't quite match In Bruges in terms of total success, it's still potent enough to indicate that McDonagh managed to dodge the dreaded sophomore slump.
Though it seems derivative at times, it's offbeat, it's violent, it's well written, and it's well acted.
Martin McDonagh's blood-drenched, dully self-referential hodgepodge of a crime film looks great with Sony's extraordinary A/V transfer, but the package offers only crumbs in the extras department.
This is a film with a lot of interesting elements to it, but sadly it just never comes together. I wouldn't go as far as saying that it's a mess, but the structure of it could have used a bit of an overhaul.
The sense that the different elements don't really add up to much may well leave some feeling cold; for others, the sharp dialogue and comic beats will produce a similar fondness for the characters that In Bruges' best scenes did.
Another gleefully dark comedy thriller from In Bruges creator Martin McDonagh featuring gabby killers, scabrously funny dialogue and moments of shocking violence.
McDonagh achieves the tricky feat of balancing cleverness, carnage, and compassion.
...the moment to moment of the unparalleled craziness that experimental narrative, character dexterity and into the depths of McDonagh's necessary second album psychosis.
Mostly the ruthless black humour is sustained, and occasionally some genuine emotion can creep in and touch our hearts.
...an entertainingly erratic effort...
At times, the galloping absurdity drifts into off-the-peg comedy gangster clich�. But McDonagh's brilliant way with one-liners always claws back enough ground to stifle any groans.
Martin McDonagh gleefully plays with both the gang thriller genre and the moviemaking process with this enjoyably absurd action comedy. It's a little self-indulgent, acknowledging how difficult he found it to follow up his acclaimed film In Bruges.
There's not much point to a meta-film once the actual film has ceased to grip.
[A] black comedy loaded with some fabulous, all-American visual touches.
[B]ursting with equal parts exasperation, despair, cultural criticism, and black comedy...
McDonagh has enough ideas for six films, but with them all crammed into one, the effect of each is lost.
Too much is so clever-clever that it borders on the stupid.
It loses its way after a while but the performances are excellent and there's some jaunty dialogue.
59%
38%
44%
86%
11%
75%
Top Critic
