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Detachment Reviews



Genre :


Release Date :

March 16, 2012 (Limited)

Director :

Tony Kaye

Starring :

Adrien Brody, James Caan, Bryan Cranston, Christina Hendricks, Lucy Liu, Marcia Gay Harden, William Petersen, Blythe Danner, Tim Blake Nelson, Doug E. Doug, Sami Gayle

REVIEWS RATE:  Critics  Nothing's perfect, but it's worth seeing.    Readers  Be the 1st!

2 of 5

“..when the movie shuts out the background noise, its message is loud and clear..”
by Joe Neumaier [New York Daily News]
“..there isn't a cynical moment in this overblown drama, but it feels personal in a way that perhaps shouldn't also become political..”
by Ella Taylor [NPR]
4 of 5

“..there are multiple mini-narratives that run through Detachment and all of them are worthy of your attention..”
by Daniel Hubschman [Hollywood.Com]
“..the younger performers make equally strong impressions..”
by Frank Scheck [Hollywood Reporter]
3 of 4

“..the overload of tricks that take us out of the story with animation..”
by Peter Travers [Rolling Stone]
3 of 5

“..the movie is tricked out with arty embellishments that include the insertion of crude blackboard sketches of nooses and guillotines..”
by Stephen Holden [New York Times]
Review rate : B

“..the film would be better if Kaye hadn't included a Taxi Driver subplot in which Brody rescues a teen hooker in fishnets..”
by Owen Gleiberman [Entertainment Weekly]
1 of 4

“..the director's trademark shrillness renders its dialogue in all-caps hysteria..”
by Bill Weber [Slant Magazine]
“..seem like stock archetypes, at least until you actually sit down and watch the film..”
by Andrew O'Hehir [Salon.com]
2 of 5

“..one big scream, cliched and hardly credible as an oblique call to civility..”
by Joshua Rothkopf [Time Out New York]
1.5 of 4

“..has everything you'd expect in a student film, but it's instead the product of a grizzled 60-year-old veteran..”
by Kyle Smith [New York Post]
“..establishes a drifting, narcotized visual tone that's apt and effective, but the reactionary script brings out the worst in its impressive cast..”
by Mark Holcomb [Village Voice]
“..drives a coffin nail through a noble profession with such ruthless virulence that it makes no point at all..”
by Rex Reed [New York Observer]
“..delivers a story that lacks nuance, and mixes badly with Kaye's impatient edits, Dutch angles and extreme close-ups..”
by Ronnie Scheib [Variety]
Review rate : B-

“..bringing credibility to scenes that often don't deserve it and making the film watchable even at its most absurd extremes..”
by Sam Adams [AV Club]
“..although ugliness seeps through scene after scene here, I remained totally absorbed throughout the film..”
by Betty Jo Tucker [ReelTalk Movie Reviews]

Reader's Reviews

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“..the movie can conjure up futuristic images, but the story is nothing we haven't seen before...”
by Stephanie Merry [Washington Post]


“..the spirits may have been willing with Poltergeist but the movie is weak..”
by Linda Barnard [Toronto Star]


“..will make fans of the Japanese animation studio yearn for when Hayao Miyazaki was there. The now-retired maestro of the form had a sense of poetry and lyricism that's sadly missing here..”
by Joe Neumaier [NY Daily News]


“..more depravity, more terrible acting..”
by Chris Nashawaty [Entertainment Weekly]


“..a black riff on a certain stripper movie smash..”
by Roger Moore [Tribune News Service]


“..the rest of it - the healer, the journalist, the falcons - is just a thick, tedious layer of frost on the window..”
by Katharine Pushkar [NY Daily News]


“..the camera prowls menacingly through the interiors, but the writers seem too content with their improbable conceit to bother with back story or character arcs..”
by David Parkinson [Radio Times]


“..there's plenty of entertainment value to found. Just don't expect to leave the film with a smile on your face and joy in your heart..”
by Blair Hoyle [Cinema Slasher]


“..it is a creamily sensuous, richly observed piece of work, handsomely detailed and furnished..”
by Peter Bradshaw [The Guardian]


“..Youth has a wan eloquence and elegance, though freighted with sentimentality and a strangely unearned and uninteresting macho-geriatric regret for lost time, lost film projects, lost love..”
by Peter Bradshaw [The Guardian]