Empire

It rarely makes sense – the script vastly overestimates the power of the hashtag as a weapon of mass destruction – but you’re never bored.

Screen Daily by Fionnuala Halligan

Bastille Day is fun, for the most part, but the biggest take-home here is how easily Elba could slip into Bond’s shoes.

The Telegraph by Tim Robey

The thing actually docking this unpretentious ride is a nagging shortage of charm, because all the script’s efforts can’t drum up a buddy dynamic between Elba and Madden (both playing Yanks) that’s anything more than strictly contractual.

The Guardian by Peter Bradshaw

It’s a bit silly maybe, with a plot that requires you to overlook the implausibility of a certain smartphone with no passcode protection. But there is a nifty premise.

Variety by Guy Lodge

It’s Watkins’ lean, keen instinct for choreographing and cutting action set pieces that keeps Bastille Day afloat.

Screen International by Fionnuala Halligan

Bastille Day is fun, for the most part, but the biggest take-home here is how easily Elba could slip into Bond’s shoes.

San Francisco Chronicle by David Lewis

Eventually, the plot feels more perfunctory than palpable, but Watkins is careful not to drag things out. All in all, we don’t mind being taken along for the ride, yet in the end, we’re ready to disembark.

Slant Magazine by Keith Watson

For a film so interested in the public's malleability, The Take isn't particularly good at controlling its own audience.

The Hollywood Reporter by Leslie Felperin

It ends up playing like a shoddy blend of V for Vendetta and Mr. Robot but without the budget bandwidth or style of either.

CineVue

Taken as a transient, high-paced and familiar rock 'em, sock' em kind of film, it packs quite a punch.

Time Out London by Tom Huddleston

The problem is that it all feels like a sixth-form production of the Bourne series. Still, if you’ve ever fantasised about a Luther-Robb Stark crimefighting duo, look no further.