Unable to strike enough fear in an audience, this brave foray nevertheless takes a hatchet to the notion that it had gone soft.
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What are critics saying?
Washington Post by Desson Thomson
The Krays is a foreboding, riveting metaphor about human monsters and the monstrosities of criminal life. It's one of the most original films of the year.
As the movie progresses, it becomes less interesting. There are some striking performances from the supporting cast, particularly Steven Berkoff's rabid portrayal of a rival gang lord. The rest of the film, in fact, could have benefited from a little of his mad-dog ferocity. As heroes, the Krays are more shadow than substance; they're stuck in metaphor.
The New York Times by Janet Maslin
Gary Kemp, as the more commanding and peculiar Ron Kray, makes an especially scary impression, particularly once the Krays' perfect control has begun to unravel. In a series of events set off by Reg's marriage, the Krays are seen on a downhill spiral that Mr. Medak conveys with great and effective understatement.
The Krays is one of the artiest, eeriest gangster movies ever made. [15 Sep 1990, p.14p]
Entertainment Weekly by Owen Gleiberman
We never get any sense of how the brothers build their empire, or of how the various supporting characters fit into their lives. Telling this story in a more straightforward fashion would have been far more satisfying. Still, the Kemps are something to see.
Los Angeles Times by Peter Rainer
If Medak had been able to delineate the twinship of crime and show biz, he might have moved the film's frights into a higher realm. Instead, he's come up with a classy freak show.
Chicago Sun-Times by Roger Ebert
The genius of The Krays, Peter Medak's new film about the most notorious villains of modern British crime, is that the movie is not simply a catalog of stabbings, garrotings and bloodletting. It goes deeper than into the twisted pathology of twins whose faces would light up with joy when their mom told them they looked just like proper gentlemen.