42
Resistance is like a maudlin Robin Williams vehicle inorganically fused with a by-the-numbers wartime thriller. In place of showbiz clichés, there are tacky WWII-movie tropes.
What are people saying?
What are critics saying?
50
The Globe and Mail (Toronto) by Barry Hertz
Eisenberg does an admirable job porting his typically nervous energy into Marceau, a man who’s not portrayed as a full-blooded hero so much as a sincere, if naive, nebbish constantly wrestling with his fears and doubts.
63
Slant Magazine by Chris Barsanti
The film functions as a handsomely mounted biopic that tells a little-known story with considerable passion.
80
Los Angeles Times by Gary Goldstein
A tense and gripping thriller inspired by yet another true-life, World War II-era tale of courage and resolve against one of history’s most unthinkable evils.
67
The Film Stage by Jared Mobarak
Poésy, Kerekes, and Röhrig steal many scenes with their emotional investment to their respective roles. Schweighöfer is easy to hate . . . and Eisenberg is effective yet again as a “genius” whose pragmatism borderlines on Asperger’s if not full-on misanthropy. If the story itself doesn’t grab your attention, their performances within should.
40
The New York Times by Jeannette Catsoulis
Resistance feels disjointed and dated.
62
Jonathan Jakubowicz’s drama doesn’t add as much to the beyond-crowded World War II genre as it could despite the genuinely compelling true story on which it’s based.
70
Resistance tells a story that’s plenty strong on its own terms, and if anything, it’s a bonus that one of the key participants should survive to become famous. Afforded depth and gravitas by Angelo Milli’s string score, the film hardly needs the framing device in which Ed Harris appears as Gen. George S. Patton, regaling his troops with Marceau’s story before inviting him onstage for his first public show.
50
When we’re meant to be moved, there’s a disconnect. And when we should be transfixed, something Marceau managed in mastering his art, we’re let down.
25
The Playlist by Warren Cantrell
Hampered by a character growth problem, tonal inconsistencies, shoddy mime work, and a collective French accent trainwreck, the film fumbles the few opportunities it does have at something better.