Reviews: David Rooney(Hollywood Reporter): This in the beginning feature from co-directors Tom Dolby and Tom Williams is likewise muted in its catharsis and overmuch overcrowded with superfluous characters to be fully satisfying, but the delicate central completion keeps it watchable. Andy Webster(New York Times): This is some Lands' End catalog of a movie, with woodsy, impeccably appointed interiors; crowded tables of kitchen plenty; and a sunny society resources-raiser at the spread of a neighbor. Elizabeth Weitzman(New York Daily News): There's not a three-dimensional moral qualities or nuanced observation to be seen here. Serena Donadoni(Village Voice): Last Weekend is in addition enamored of this nouveau riche domestic to be satirical, instead offering unlooked for moments of genuine warmth as a employment card for goodness. Dennis Harvey(Variety): Its conditional reach for warm-and-fuzzy emotional catharsis rings excavation among characters that never become other thing than disagreeably shallow products of unexamined liberty. Peter Sobczynski(RogerEbert.com): Seemingly made against film festivals that you have never heard of and cable stations you put on't recall ordering … David Noh(Film Journal International): A distribute of modern Chekhovian study of parents and children tensions over a country weekend, this indie play is very pretty to look at and at seasons disarming, but needed more punch. Drew Hunt(Slant Magazine): The film's attempt at political commentary amounts to a moiety-baked treatise on good governance in the look of tyranny and socioeconomic exploitation. Fr. Chris Carpenter(Movie Dearest): Lovely. Features each award-worthy performance by the not at all-disappointing Patricia Clarkson that fully utilizes her sensitivity, comic timing and other distinctive acting gifts. Dan Schindel(Movie Mezzanine): It's like Arrested Development destitute of the irony.
Reviews: Richard Corliss(TIME Magazine): This is cinema reduced or distilled to its purest description , of movies that move James Berardinelli(ReelViews): This movie is a complete bore. Alex Pappademas(Grantland): There's nonentity here you haven't seen in the presence of. Marc Bernardin(Hollywood Reporter): You wouldn't reason a movie called Need For Speed would touch so slow. Richard Roeper(Richard Roeper.com): It's like watching someone ELSE play a video play for more than two hours. That gets aged real fast. Ignatiy Vishnevetsky(AV Club): Though later sequences jejune a little too heavily on contemporary car flick clich… they are total nonetheless informed by a gee-whir appreciation for gleaming cars and stop the growth of driving ingenuity. Jeff Beck(Examiner.com): Need for Speed is an extremely hollow and tiresome film that has nothing to offer to anyone except the most eager of car junkies. Scott Mendelson(Forbes): If Need For Speed was 15% smaller quantity overtly dumb and 15% less pandering to the stereotypical boy audience, it might have been a completely enjoyable B-movie play boisterously. Bill Clark(Movie Metropolis): Need despite Speed provides some excitement for its mark demographic while proving to be each overlong slog for everyone else. Jeff Vice(Cinephiled): "However, the auto racing contest-thriller meanders so much and takes in the way that long to get its character and situations to what they're going you'll have ~ing tempted to call it 'Need towards Judicious Editing' instead." Dan Schindel(Film School Rejects): Need in quest of Speed is so busy and vehement that, if not watched vigilantly, it could have ~ing mistaken for something fun. But it is a shambling lemon. Bruce Bennett(Spectrum (St. George, Utah)): The mark audience won't regret putting into disgrace its joystick for a couple of hours…if it be not that for anyone looking for depth or credit, nevermind. Dominic Corry(Flicks.co.nz): The auto slaughter lacks flair or creativity. Todd Jorgenson(Cinemalogue.com): … inconsiderable more than gearhead pornography, with ~y emphasis on skid marks and squealing tires from one to another logical storytelling and meaningful relationships – excluding that of a driver and his aeriform fluid pedal. Robert Denerstein(Movie Habit): Speed? Yes. Everything other? No. Graham Young(Birmingham Post): If you're misery from withdrawal symptoms for high-octane influence, DreamWorks is ready with an time adrenaline fix. Bill Gibron(PopMatters): This thin skin is clichand cloying, a revenge flick restricted in RPMs and MPGs vs. anything distantly resembling human emotion. Oh, and the gesticulation scenes stink, as well. Leigh Paatsch(Herald Sun (Australia)): OK, so the script sucks. Josh Hylton(Dark Horizons): While the thin skin is easy to look at, it's not quiet to watch. Neil Pond(American Profile): The contrive is about as thin as the wisp of gas between vehicles swishing past each other ~ward a narrow highway, and the actors decide empty-headed things like 'We'll settle this after the wheel.' Jackie K. Cooper(jackiekcooper.com): A slobbery movie that glorifies endangering people forward our city streets and interstates. David Nusair(Reel FilmReviews): A solid contender for the worst video enterprise adaptation of all time… Mark Kermode(Observer [UK]): Hundreds of non-racing civilians are merrily mould off the road but no the same cares, least of all the screenwriters who dwell locked in single-player mode.
Reviews: Owen Gleiberman(Entertainment Weekly): It should receive been made 40 years ago, but that this biopic about the Mexican-American superior who spearheaded the fight for farmworkers' rights couldn't have ~ing more timely. Bilge Ebiri(New York Magazine/Vulture): Cesar Chavez makes in spite of a fine history lesson, but because drama, it leaves something to have existence desired. Lisa Kennedy(Denver Post): Michael Perings a centered, beckoning fine part to the title character that manages to declare to Chz nonviolent approach without fit hagiographic. Peter Rainer(Christian Science Monitor): Biopics in various places civil rights icons are usually sober affairs. Cesar Chavez, directed by Diego Luna, is not at all exception. Wesley Morris(Grantland): With Pethe discussion is this: Are the movies blusterer enough to give him the take place he deserves? He's a awe-inspiring Cesar Chavez. Tirdad Derakhshani(Philadelphia Inquirer): An amateurish jumble, with faltering direction and wooden acting. Jeff Beck(Examiner.com): While Cesar Chavez was an important figure in the fight instead of farmworkers' rights, a film fitness of his work simply doesn't acquire for a very compelling experience, especially at the time it doesn't deliver the emotional shock that it should. Robert Denerstein(Movie Habit): Truncated bio-pic doesn't excavate deep Prairie Miller(NewsBlaze): Labor struggles and mass movements are the greatest in number difficult to pull off in this strictly standing quo society, and the same could have ~ing said for movies re-enacting some of that suppressed US history. But this brave and healing yet candid biopic does happy that. Todd Jorgenson(Cinemalogue.com): It's a astonishment that nobody has tackled the rehearsal of the civil-rights crusader on the big screen before, which makes this struggle discouraging for its lack of sagacity or insight beyond the basics. Nathan Rabin(The Dissolve): The pellicle seems more intent on educating and inspiring than entertaining. Robin Clifford(Reeling Reviews): Michael Pena is valid in his portrayal of Cesar Chavez otherwise than that it is not the star turner I had hoped for the capricious actor. Witney Seibold(Nerdist): This historical personal history about the important 1960s labor organizer so actively skews away from Hollywood theatrics that it begins to be warmed downright quaint. Dave White(Movies.com): …should have ~ing shown to every McDonalds and WalMart employee just now. Dan Schindel(Movie Mezzanine): Cesar Chavez is the tender of movie we need more of, in that it grants greater representation to Hispanics, a drastically underserved demographic . But it's moreover the kind of movie we dress in't need any more of, in that it's not very much good. Jeanne Kaplan(Kaplan vs. Kaplan): Lest you have in mind "Cesar Chavez" is not scintillating movie essential, Luna has put forth a real important portrayal of a man determined to make a better life for himself and the workers he represents. David Kaplan(Kaplan vs. Kaplan): The fortitude and soul of this film is Pena. His splendid performance punctuates Chavez' struggle to say a non-violent approach to bring to consummation his goals — which included a 25-day fast that nearly killed him — and donjon his large family intact. S. Jhoanna Robledo(Common Sense Media): Plodding labor chief biopic shows protests, beatings. Adam A. Donaldson(We Got This Covered): Cesar Chavez is a emblematical and topical biopic, but the performances, led ~ the agency of a very strong Michael Peshould leave you satisfied. Carla Meyer(Sacramento Bee): In its detailed account of victories and setbacks within that time put together, Chavez fails to create a filled or even full-ish picture of the the hu~ race whose bold but nonviolent tactics led to better working conditions in the fields. Jim Judy(Screen It!): The film ends up eliciting not much to a greater degree than a "meh" response. (Complete Content Review for Parents besides Available)
Reviews: Barbara VanDenburgh(Arizona Republic): Dom is lavish with self-destructive charisma, the charitable of loose cannon you'd come into an all-night bender in venom of your better judgment. Tom Long(Detroit News): You slip on't so much care in which place Dom is going as how he's acquisition there, and he's acquisition there loud. Moira MacDonald(Seattle Times): "Dom Hemingway" has sum of ~ units terrific things going for it: snappy conference (I was quite fond of the crimination "You disrespected my cat") and Law, who's the one and the other funny and scary in equal measures. Colin Covert(Minneapolis Star Tribune): The name character of this florid crime comedy could exist an escapee from a Tarantino script, quite flashy character traits and verbal overkill. Rene Rodriguez(Miami Herald): Dom Hemingway is many times viciously funny, and every time you consider the movie has run out of mist, Shepard spins things in a novel direction, keeping the energy from flagging (including the same of the most startling car crashes I've to the end of time seen in a film). Joe Williams(St. Louis Post-Dispatch): While Law bellows impious poetry, his director orchestrates a noirish daybreak show with a cockeyed rhythm. Stephen Danay(Under the Radar): Dom Hemingway lives or dies ~ the agency of the audience's identification through its protagonist. James Plath(Movie Metropolis): Jude Law gives a bravura exhibition of character on the stage as the title character, but you have power to't escape the feeling that this 2013 felony comedy-drama could have been each funnier or more dramatic. Jeff Beck(Examiner.com): In his essay to build a story around a sum of ~ units-dimensional character, writer/director Richard Shepard has ended up by a meandering mess of clichthat was in desperate need of some originality. Neil Pond(American Profile): Law tears into his role like he's like undivided of Shakespeare's most rough lost characters somehow unleashed in the novel world, and he clearly relishes the grit and the gristle. Philip Martin(Arkansas Democrat-Gazette): When the movie takes a batter from its tone of merry obnoxiousness to wrench for poignancy, it settles too easily into sentimentality. Mal Vincent(The Virginian-Pilot): He's not the kind of guy you'd necessity to date your daughter. Neither, in favor of most, is he the kind of fright you'd want to be lost 90 minutes with in a movie theater. John Beifuss(Commercial Appeal (Memphis, TN)): Jude Law is pre-eminent, sure, but Dom Hemingway remains a person in search of a story, uttering sentences in make ~ of a script. Ken Hanke(Mountain Xpress (Asheville, NC)): I unreservedly kindness Richard Shepard's Dom Hemingway, and I firmly urge everyone with a taste because of quirky, dark crime comedy of the British varied assortment to beat a path to it. Rob Boylan(Orlando Weekly): I've evermore been on the fence about Law. For every Gattaca or Closer, there are a maniple of The Holidays and Cold Mountains to contend with. But if Dom isn't his most excellent performance, it's certainly his funniest. Blake Howard(2UE That Movie Show): Law infallibly relishes the opportunity to strip from home any semblance of his former 'sex sign' status to embody this take the form of a man. His chest cudgelling, hard drinking, fourth wall breaking, wanton freak needs to make up despite lost time. Rick Bentley(Fresno Bee): The uncivil emotions of the script mixed by the untethered performances make Dom Hemingway the nature of movie that viewers will each deeply hate or passionately love. Shepard leaves no room for a middle domain. John Wirt(Advocate (Baton Rouge, LA)): Not plenteous comedy. Even less redemption. Andrew L. Urban(Urban Cinefile): The screenplay bristles, performances are tremendous and the music throbs when needed Chris Sawin(Examiner.com): Jude Law is undeniably mesmerizing like the venom spewing, short fused, alcohol dependent Dom Hemingway. Unfortunately the record finds itself running in circles and nihilism feels resolved. Matt Brunson(Creative Loafing): An enjoyable lark featuring a majestic performance by Jude Law. Ben Kendrick(ScreenRant): Dom Hemingway delivers up~ the body half of its well-meaning intentions – prioritizing erratic comedy beats over its unconventional legend of love and self-reflection. Robert Denerstein(Movie Habit): He's brusque and vulgar, but he fills the pellicle Mike Scott(Times-Picayune): Jude Law shines, disappearing into the allure role of what ends up actuality a rowdy and giddy blend of designation and attitude.
Reviews: Todd McCarthy(Hollywood Reporter): Holding the effort back, however, is a terribly restrained directorial come near and academic visual style that debar the lubricious story from truly advent to life. Peter Debruge(Variety): The script represents a over-tame middle ground, which gives the unlucky impression that perhaps the filmmakers poverty us to empathize with this icky tale. Austin Trunick(Under the Radar): [Errol] Flynn's eventual days get the biopic treatment in The Last of Robin Hood, in which place Kevin Kline plays the late doer with loads of slimy charm. Betty Jo Tucker(ReelTalk MovieReviews): Kevin Kline doesn't appropriate play Errol Flynn here. He becomes Flynn. Not the at dawn heartthrob, but Flynn in his later years about the booze and legendary philandering consider taken their toll. Tim Grierson(Screen International): The pellicle has real compassion for its tabloid subjects if it be not that doesn't quite make the cover for what was especially poignant or wonderful about this doomed love affair.