Spinning Man

The New York Times by

A few moody flashbacks and daydreams are presumably intended to add to the noirish sense of uncertainty and unease, but instead of intensifying the mystery, they dissipate it.

Slant Magazine by Chuck Bowen

The film is ultimately tethered to the strictures of a procedural thriller, as it's rife with functional dialogue and plotting as well as forgettable aesthetics, which cumulatively reduce the existential calisthenics to filler.

The Hollywood Reporter by Frank Scheck

Only the talents of its estimable cast, also including Pierce Brosnan and Minnie Driver, manage to make it worth checking out.

Los Angeles Times by Gary Goldstein

Director-editor Simon Kaijser takes an often choppy approach to the narrative, the catch-a-mouse symbolism is a bit heavy-handed and the ending could use more oomph.

Variety by Owen Gleiberman

Spinning Man, like a film noir turned into a video game, winds up crafting a rickety atmosphere of deception out of the question of guilt or innocence. The result keeps you guessing, but it forgets to keep you caring.

Observer by Rex Reed

A thriller with no thrills.

Movie Nation by Roger Moore

Spinning Man keeps on spinning and keeps us interested, until that third act, when all this has to be resolved and the script tumbles all over itself ending, not ending and adding an epilogue that undoes the clumsy wrap-up concocted here. And here we are, a couple of hundred words later, and “forgettable” is still the label that best fits.