55
Metascore
35 reviews · Provided by Metacritic.com
- 80EmpireEmpireEssential stuff, even by the big man's considerable standards.
- 75Chicago Sun-TimesRoger EbertChicago Sun-TimesRoger EbertThis movie plays better than perhaps it should. Directed as a debut by Daniel Barber, it places story and character above manufactured "thrills" and works better.
- 70VarietyJoe LeydonVarietyJoe LeydonBleak, gripping, sporadically exciting drama.
- 70New York Magazine (Vulture)David EdelsteinNew York Magazine (Vulture)David EdelsteinCaine makes a grave, soulful vigilante avenger, and first-time director Daniel Barber gives the film a dank, streaky, genuinely unnerving palette.
- 60Time OutDavid FearTime OutDavid FearWe like our secondhand vengeance as sleazy and bloody as the next grindhouse fiend, but even an intentional throwback shouldn’t feel content to coast on so much déjà vu.
- 58Entertainment WeeklyLisa SchwarzbaumEntertainment WeeklyLisa SchwarzbaumPart punk-drab British art-house portrait of underclass despair, part bloody vigilante pic, Harry Brown is shakily held together by industrial-strength sound design and the expertly employed theatrics of Michael Caine in the title role.
- 40The New YorkerDavid DenbyThe New YorkerDavid DenbyThoroughly derivative, and it doesn't illuminate youth crime -- it exploits it.
- 38Chicago TribuneMichael PhillipsChicago TribuneMichael PhillipsThe tragedy is that the performance comes to nothing. Nearly everything else in the film is vile.
- 20Village VoiceVillage VoiceDirector Daniel Barber's lame handwringing about the root causes of youthful alienation forms a thin veneer over the real purpose of this self-important piece of rubbish--to hold us hostage to the director's bottomless appetite for spurious depravity.