Boorman’s movies are usually about the repercussions of violence (Point Blank, Deliverance, Excalibur, etc.) but he recreates Cahill as something of a victim of circumstance. Cahill should have been played by Lee Marvin, not by some fat teddy bear of a man like Brendan Gleeson. It’s too bad Marvin isn’t still around, to at least knock some sense into his old friend, Boorman.
What are people saying?
What are critics saying?
Boorman pays a price for his neutrality: The General isn't an emotional grabber. But on its own terms it's nearly perfect. The magic is there but below the surface.
Rarely has a veteran filmmaker rejuvenated his career to such startling effect as John Boorman with The General, a fresh-off-the-slab biopic of maverick Irish crime lord Martin Cahill that both challenges and entertains the audience at a variety of levels, as well as reviving the vitality of the helmer's earliest, mid-'60s pics.
San Francisco Chronicle by Edward Guthmann
Boorman enlivens The General with a number of scenes, like that one, that play against the con ventions of crime movies. He and Gleeson, both of whom were denied the Oscar nominations they deserve for this film, do exemplary work and give us one of the liveliest, smartest and most surprising films in a long time.
The New York Times by Janet Maslin
Mr. Boorman, working in top form with a keenly acerbic overview, has written the film so sharply that the facts speak well for themselves.
Chicago Reader by Jonathan Rosenbaum
It's extremely competent, shot in 'Scope (Boorman's best screen format), and though it kept me absorbed it failed to win me over.
Boorman's original script is razor sharp and very funny, and Gleeson's portrayal is nothing short of brilliant
Chicago Sun-Times by Roger Ebert
Boorman's film is shot in wide-screen black and white, and as it often does, black and white emphasizes the characters and the story, instead of setting them awash in atmosphere. And Boorman's narrative style has a nice offhand feel about it.