you are going to be blown away by a hurricane-force performance from Jake Gyllenhaal; With its one-room set up and a supporting cast that's heard but not seen, it leans hard on the actor's screen presence and he doesn't disappoint
the movie seems to mistake the taut minimalism of the original for something that needs to be goosed and adrenalized, a thriller on constant defibrillator
the movie is efficiently tense; while Fuqua’s “The Guilty” is not much different from the original, his direction is crisp, Gyllenhaal’s performance grows on you, and Riley Keough, as the voice of the woman who is abducted, is terrific
the film lacks some of the gritty tension of Gustav Moller's original — or, perhaps, just feels too familiar to those who saw it — but Jake Gyllenhaal's explosive performance keeps it fresh and moving along in different ways
something gets lost in the translation, and what should be an engrossing, claustrophobic thriller keeps on throwing us for a loop and has us asking questions about logic when we should be so immersed in the story we don't care about the plot holes
none of this would work without a compelling lead performer at The Guilty's centre, and Gyllenhaal delivers; Jake Gyllenhaal flexes all his considerable acting muscles in this taut, tense thriller. One of the better remakes you'll see
Jake Gyllenhaal is perfectly cast for holding the screen in huge stress-filled close-ups, and the attempt to demonise him throughout the drama - he's consistently abrasive and unhinged - is surprisingly effective
Jake Gyllenhaal delivers a canny, screen-owning performance in "The Guilty"; For its eventual lurid machinations and hyped-up emotionalism, the film winds up being a handsomely efficient one-man show
it is a fairly good suspense-filled drama that showcases much of what we like from Antoine Fuqua; Without offering anything particularly interesting or nuanced, The Guilty still has enough to keep audiences engaged and on the edge of their seats
by G. Allen Johnson [San Francisco Chronicle ]
by Richard Roeper [Chicago Sun-Times ]
by Aaron Warmann [Empire Magazine ]
by Ferdosa Abdi [ScreenRant ]
