50
The New York Times by A.O. Scott
A potent, assured and ambitious piece of filmmaking brought down by weighted dialogue and, playing Americans, the British actors Adrian Lester and Joseph Fiennes and the Australian David Wenham.
What are people saying?
What are critics saying?
50
Christian Science Monitor by David Sterritt
Its most impressive aspect is its visual style, patterned to some degree on Sergio Leone westerns. A picture this long and dense should work harder to be cogent and coherent, though.
60
It's too arty to cut it as a violent action pic and too gore-spattered to appeal to the arthouse crowd.
50
New York Daily News by Elizabeth Weitzman
Three movies in one: a spaghetti Western, an urban drama and a historical epic. All of them suffer from self-indulgent direction, a convoluted script and awkward acting.
30
L.A. Weekly by Hazel-Dawn Dumpert
Whatever ghost-story intrigue the film musters gives way to a tedious cycle of fighting, screwing, shouting and storytelling stuck together by two hours worth of hard-boiled dialogue gone gummy.
30
Los Angeles Times by Kevin Thomas
Dust is a bust, a big bad movie of the scope, ambition and bravura that could be made only by a talented filmmaker run amok.
50
Manchevski has a rare visual intelligence, whether filming the face of a dying woman or Times Square's reflection in a windshield. But in reaching for a cubist style of storytelling, he sacrifices character and motivation.
60
TV Guide Magazine by Maitland McDonagh
The chaotic, brutal iconography of Italian Westerns is put to novel use in this time-traveling, self-referential, hugely ambitious story of American brothers.
25
New York Post by Megan Lehmann
Lurches so wildly and meaninglessly between genres and time frames that all it creates is motion sickness.