Wonder Man is a series about intimacy, belonging, the importance of storytelling.
The film is winningly defined by a peculiar admixture of national pride and self-deprecation.
The witty repartee between Clooney and Pitt feels like the only thing holding the film together.
The film asks us to eat the rich, but Criterion’s release is at best a delicious light snack.
Writer-director Ruben Östlund’s pessimism ultimately leads the film toward a self-negating dead end.
The film circles a thorny premise, which makes it all the more disappointing that it results in a conventional clinch.
In the end, the film is all too ready to transform into just another shiny pop object indistinguishable from so many others before it.
Do we really need another cautionary tale about an ambitious drug dealer dramatically falling from grace?
The film is a ludicrous, insecure psychological thriller that purports to give a human face to Britain’s invisible underclass.