Metascore
74

Generally favorable reviews - based on 40 Critics

Critic score distribution:
  1. Positive: 32 out of 40
  2. Negative: 0 out of 40
  1. Reviewed by: Kenneth Turan
    Jul 24, 2014
    100
    [A] crackerjack thriller, at once brooding, claustrophobic and unbearably tense.
  2. Reviewed by: Richard Roeper
    Jul 24, 2014
    100
    A Most Wanted Man works as a crowd-pleaser and as a believable reflection of how these fictional events might well play out in the real world.
  3. Reviewed by: Michael O'Sullivan
    Jul 24, 2014
    100
    Although the cast is uniformly fine, Hoffman shines in a role that demands not showmanship, but a kind of complexity and contradiction that can be rendered only through the kind of dull character details that he excelled in, accumulating them from the inside out.
  4. Reviewed by: Alan Scherstuhl
    Jul 22, 2014
    90
    A Most Wanted Man is simply a complex tale superbly told, with time for nuance and to soak in its mysteries.
  5. Reviewed by: Steven Rea
    Jul 25, 2014
    88
    A Most Wanted Man's cast - a mix of Germans speaking English, Americans speaking English with German accents, Russians, and men and women from the Middle East - is uniformly stellar.
  6. Reviewed by: Calvin Wilson
    Jul 24, 2014
    88
    The rare film that will remain on your mind long after you’ve left the theater.
  7. Reviewed by: Ty Burr
    Jul 24, 2014
    88
    The great pleasure of le Carré-land — for some, it’s the frustration — is that one’s own moral certainties are quickly stood on their head.
  8. Reviewed by: Peter Travers
    Jul 24, 2014
    88
    Every move Hoffman makes subtly rivets attention. There's the uncanny German accent, the boozing, the chain-smoking, the glances at his assistant (Nina Hoss), the secret life he keeps hidden and the betrayals even Günther can't see coming. Hoffman is simply magnificent. Face it. We won't see his like again.
  9. Reviewed by: Roger Moore
    Jul 23, 2014
    88
    Hoffman is merely the first among equals in a stellar cast.
  10. Reviewed by: Marc Mohan
    Jul 25, 2014
    83
    As usual in Le Carre's world (and the real one), a measured, rational approach faces an uphill battle against the philistines who really run the show. That predictably weary attitude is both the best — as embodied in Hoffman's performance — and worst — in its weary predictability — things about A Most Wanted Man.
  11. Reviewed by: Steve Persall
    Jul 24, 2014
    83
    Corbijn keeps the intrigue uncluttered, guided by Andrew Bovell's economical adapted screenplay.
  12. Reviewed by: Eric Kohn
    Jul 23, 2014
    83
    A Most Wanted Man allows Hoffman to go out with not only one of his best performances, but one that epitomizes his strengths.
  13. Reviewed by: Kate Erbland
    Jan 20, 2014
    83
    While the final act might not surprise or stun, it does feature some classic le Carre movements, some trademark Corbijn ease, and a terrifying Hoffman bellowing at the sky – not so bad for just another spy film.
User Score
6.3

Generally favorable reviews- based on 4 Ratings

User score distribution:
  1. Positive: 1 out of 1
  2. Mixed: 0 out of 1
  3. Negative: 0 out of 1
  1. Jul 25, 2014
    9
    The polar opposite of Zero Dark Thirty.

    The picture opens on a title over a wall being washed by the tide. It announces that the planning
    for 9/11 took place in Germany without interference, and this must never be allowed to happen again.

    So much for the stakes and the motivations.

    There follows a film with virtually no action and only as much dialogue as needed to advance the plot. There's a little chit chat, some exposition, and then waiting. Lots and lots of waiting. We wait silently watching the characters wait silently watching other characters make up their minds. There is one sequence which may have been 5 minutes long, with 4 of them silent. There is a sense of things happening in real time.

    However, the longer we wait the more we learn, and the more we learn the more we care.

    Hoffman's character is the polar opposite of the bombastic CIA agent he played in Charlie Wilson's War. Don't come expecting that, or the ripe bluster of The Master. Everyone speaks quietly in Hamburg where the film is set, and Hoffman perhaps the most quietly, muttering in a strange Germanic accent, but also very invested, and more and more so as the story winds tighter and tighter.

    We could do worse than have this as the final performance of Philip Seymour Hoffman. He goes out on a high note, but an understated one as well.
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