80
An energetic and imaginative tale of siblings at a criminal crossroads and a street movie that is imaginatively, even poetically, shot, the pic nonetheless remains rooted in the turmoil of an immigrant British demimonde.
What are people saying?
What are critics saying?
80
Village Voice by Alan Scherstuhl
Despite its moral seriousness, the film's a crowd-pleaser, boasting tense set pieces, a raucous polyglot of voices and accents, beauty-in-poverty streetscapes, and two warm, brawling, big-hearted leads.
60
Even those who aren’t well-versed in the-’hood-always-wins dramas can see what’s coming. So it’s to newcomer Sally El Hosaini’s credit that she embeds a tangible, lived-in sense of the region’s diaspora community and urban criminal underbelly (wagwan, near-indecipherable East End patois!) that’s leagues away from anthropological fetishizing.
80
The Hollywood Reporter by David Rooney
While on the surface, this is a variation on boyz-in-the-‘hood dramatic staples, the film is rooted in anglicized Arab culture yet universally accessible in its reflections on identity issues. It’s a very promising debut – slick, muscular, entertaining and emotionally satisfying.
70
Shot entirely in Hackney — a mostly ungentrified London borough — My Brother the Devil has a strong odor of authenticity.
67
The A.V. Club by Mike D'Angelo
Director Sally El Hosaini, who also wrote the screenplay, proves better at introducing dilemmas for her characters than at resolving them.
80
The Guardian by Peter Bradshaw
It's an athletic, loose-limbed piece of movie-making, not perfect, but bursting with energy and adrenaline.
75
It’s far superior to what usually comes out of the British slums in the genre of gangland thrillers.
80
What distinguishes My Brother The Devil is El Hosaini’s maturity in avoiding faux-doc grittiness, political grandstanding or flashy glorification in favour of an intimate, closely observed character piece.