Sam Claflin is best in show, but his performance is undercut by the film’s inability to escalate or explore the ramifications of its premise.
Time and again, Crisis shortchanges the human elements of its plot lines.
The film evinces neither the visceral pleasures of noir nor the precision to uncover deeper thematic resonances.
It’s clear that the film’s aimless yet weirdly un-pretentious one-thing-after-another-ness is intentionally achieved.
Nearly everything in Taylor Hackford’s tin-eared comedy is as ersatz as the Robert De Niro character’s rage is real.
Salt and Fire’s final act is one of the strongest sustained sequences of cinema Werner Herzog has crafted in some time.
Saviors in the Night manages to avoid some, if not all, of the problems that have plagued recent films about the Holocaust.