30
It's no return to rock, this, but rather Ritchie's soporific, proggy-conceptual Film of Ideas, with Vivaldi interludes, fussbudget set design, recurrent references to chess, and a hit man inexplicably got up as Tati's Mr. Hulot.
What are people saying?
What are critics saying?
40
Washington Post by Desson Thomson
Its main purpose -- and no, you are not experiencing ocular breakdown -- is spiritual.
25
ReelViews by James Berardinelli
Surprise of surprises, Revolver turns out to be worse than "Swept Away" - and not just by a little bit.
10
Chicago Reader by Jonathan Rosenbaum
This 2005 feature offered me my first taste of Guy Ritchie's macho-centric artiness, and I hope it's my last.
30
The Hollywood Reporter by Kirk Honeycutt
The film's pretentious style and fractured storytelling preclude any audience involvement in the coy melodrama.
12
Chicago Sun-Times by Roger Ebert
It is a "thriller" without thrills, constructed in a meaningless jumble of flashbacks and flash-forwards and subtitles and mottos and messages and scenes that are deconstructed, reconstructed and self-destructed. I wanted to signal the projectionist to put a gun to it.
25
Ritchie has said that it takes several viewings to fully understand what's going on in Revolver, but once will be enough for most to agree to take his word for it.
20
Guy Ritchie shoots a blank with Revolver, which replays the low-life criminal shtick from his first two features with an ill-advised overlay of pretension. The action, attitude and wise-guy talk all feel moldy this time around.
50
Seattle Post-Intelligencer by William Arnold
Definitely deserves points for trying to be something thought-provoking and different, but it doesn't really stand up to analysis and it comes off as a pretentious mess.