50
Village Voice by Alan Scherstuhl
This is one of the greatest missed opportunities in recent cinema history: Del Toro looms more impressively on camera than he does in the marketing material, embodying a wicked man's perverse sense of family, honor, and self-interest.
70
The New Yorker by Anthony Lane
Meanwhile, everyone in the theatre is thinking: Given that I paid good money to learn about the world’s most frightening cocaine king, why am I watching a movie about the world’s most stupid Canadian?
58
The Playlist by Chris Willman
Whatever fascination the film holds belongs solely to Del Toro and his vanity-free impression of Escobar as a titan whose potbelly and gym shorts do not put the slightest dent in a charisma that hypnotizes a nation.
38
Slant Magazine by Chuck Bowen
Benicio Del Toro's performance is showy, a great actor's parade of indulgences that occasionally sets the deranged camp tone that should have been the narrative's starting point.
75
IndieWire by Eric Kohn
Di Stefano's memorable debut feature makes up for its lack of sophistication with constant forward motion.
70
TheWrap by James Rocchi
Escobar: Paradise Lost plays more like Greek tragedy than the kind of drug-war tale we’d get in a broader, bigger film, and that is no small part of the many reasons it works.
50
Observer by Rex Reed
In a footnote to history that is still too close for comfort, he’s the real meaning of paradise lost.
70
Variety by Scott Foundas
"Escobar” offers an odd mix of action movie, romantic melodrama and cautionary traveler’s tale, which works better than it should thanks to Del Toro’s fascinating performance and Di Stefano’s assured, muscular helming.
50
The Dissolve by Scott Tobias
Escobar: Paradise Lost takes such a limited view of this multi-faceted figure that it fails as portraiture, and the real center of the film is too much of a bland good guy to compensate.
80
The Hollywood Reporter by Todd McCarthy
It’s an impressive debut, an ambitious project pulled off with confidence.