User Score
6.8

Generally favorable reviews- based on 16 Ratings

User score distribution:
  1. Positive: 13 out of 16
  2. Negative: 0 out of 16

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  1. Apr 30, 2014
    7
    Jude Law flexes his muscles (figuratively and literally) as a brash, bellicose safecracker who gets out of jail after 12 years. He sets out (with friend Richard E. Grant) to collect what's owed him and reconnect with his daughter. This is one of those roles that gives a classy actor a chance to play against type and Law approaches it with gusto: cussing, ranting and violently attacking every one and every scene. While it's fun to watch (and sometimes too much), the character doesn't draw much sympathy until it's almost over. The writing and direction are solid without elevating the film to exceptional, but Law's energy makes it worthwhile. Expand
  2. Apr 20, 2014
    10
    This is a foul mouthed lark on the order of Sexy Beast, but is lifted to the level of superb by the all stops out performance of Jude Law. Who would have thought Gentleman Jude had it in him? He gives the whole film a glorious manic energy. Great fun but violent and as profane as Wall Street's Wolf.
  3. Apr 18, 2014
    6
    There comes a time in every clean, charming actor’s career where the prospect of playing the bad guy is just as exciting as playing the good guy. Jude Law has been an actor who has played the good guy for the last two decades with dignity and compassion; from a sophisticated playboy in Alfie, to a artificially intelligent gigolo in A.I: Artificial Intelligence, to young, lost writers in Closer and the recent The Grand Budapest Hotel, it’s clear that Law’s time to wreck havoc is now.

    Dom Hemingway is Jude Law’s entrance to the world of cinema’s certifiably insane; driven on ego, sexual prowess and the pursuit of criminal icon status, Law’s performance is one performance that will have you believing in the power of filthy transformations on film.

    Law embodies Hemingway; a loud, fouled-mouth safecracking vagabond whose rough Shakespearean-esque monologues are fuelled like a man on an eternal sugar rush and coke bender. Law, who put on thirty pounds, reportedly drank ten bottles of coke a day to thicken his midsection and put on an unhealthy amount of weight in a short period of time to portray Hemingway’s peasant-like/rugby player body figure, and does it sure work. Law, who has always been a delicate and fashionably conscious film star, sheds all charm aside and replaces it with rugged goatee, absurdity and crudeness, always pushing the envelope with his words and actions.

    Dom Hemingway opens just days before Dom’s released from a long twelve year unknown criminal sentence. Naked and at the pleasure end of a fellow inmate’s fellatio duties, it becomes clear that Dom’s priorities in life are his dignity, his legacy, his cock, his ego and what is due to him at the end of his sentence from his boss Mr. Fountaine, played wonderfully by the constantly underrated Damien Bichir.

    Upon his release, Dom settles a few scores, including beating the life out of his decease wide’s second husband Sandy Butterfield (Nick Raggett) for no good reason, chugging down a pint (or ten), sex with hookers, coke and collecting what’s due to him. After three days of partying that results in the most throbbing and painful hangover recorded, Dom and his trusty best friend Dixie Black (Richard E. Grant) visit Mr. Fountaine for Dom’s reward of silence in the south of France. As tempers flare and egos cross revolving around Mr.Fountaine’s newest exotic squeeze Paolina (Madalina Diana Ghenea), Dom gets what he wants from Mr.Fontaine in a mutual agreement. Together with Fountaine, Dom and his company celebrate like any good gangsters, thefts and crooks would do; with a ton of drugs, women and illegal activity. But while Dom and his entourage are enjoying his newly found freedom, another scheme to screw Dom from his twelve year long reward unexpected throws Dom cycle of deep, crappy luck.

    Director Richard Shepard (The Matador) is the mastermind behind Dom Hemingway, writing and directing the picture, he captures a diabolical character through his trusted muse and actor Jude Law that is both grotesque yet gains minimal empathy from its audience. Together, the actor and director indulge in a exaggerated and highly unnecessary story of a man’s unhealthy lifestyle, poor choices and an estranged daughter Evelyn (Emilia Clarke) who refuses to acknowledge her father in any way. Essentially, Dom admits to always being a greasy, slimy, peasant level crook who chooses to find a shortcut to success and fortune, even if his skewed brain thinks serving a twelve years sentence pays over hard work and a family. His attempts to assimilate himself in the life of his daughter Evelyn, her husband Hugh (Nathan Stewart-Jarret), and a grandson he never knew he had, becomes the most gut-wrenching moments of the film, substituting theatrical monologues and insanity for tender emotion and human triumph. Sadly, the film only spends minimal amount of time with Dom and his daughter, and more on scenes involving low-level gangster and a heist scene involving Dom humping a safe.

    If there is one word that could describe Dom Hemingway as a whole it would be filthy–his attitude is filthy, he antics are outrageous, his execution is uncalled for, yet, surrounded by the deep reds fuelled by anger and a drunken stupor, Dom still manages to always mess up, gaining sympathy from his audience. Tormented and plagued by a series of misfortunes, Dom is his own worst enemy, choosing his image as a notorious safecracker over his family.

    There isn’t much to Dom Hemingway as a whole. The basis of the narrative only takes place in a few locations and involves very few characters, but the essence of the film relies on monologues and dialogues usually involving Dom and other characters that hardly drives the narrative, if at all. For the most part, many of the characters seemed force to be included in Dom life’s, serving only a purpose of adding to Dom’s regret of being quiet for those twelve years and adding a certain amount of guilt to our drug-fuelled character.
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  4. Apr 3, 2014
    7
    Jude Law is great, but the pacing of the story lacks any rhythm. Some scenes play too long and while a rambling narrative can be a fun ride, there's just a bit too much slack here to support Law's performance. It tips into the green because the cast as a whole is fun to watch and Shepard makes some fun choices in his use of music, color, camera angle and slow motion.
  5. Apr 2, 2014
    6
    Though Jude Laws performance is one of his best, And the film does offer a couple suspencful sequences, Unfortunately Dom Hemingways script is just not that good.
  6. Apr 2, 2014
    10
    Dom Hemigmway is funny, poignant and wild- all because of the awesome Jude Law. This british gangster comedy directed by Richard Shepard, offers comedy and a bundle of good performances. If that's not all, a british gangster Jude Law that will make you smile. Dom Hemingway is crazy and wild- in a good way.
Metascore
55

Mixed or average reviews - based on 37 Critics

Critic score distribution:
  1. Positive: 19 out of 37
  2. Negative: 4 out of 37
  1. Reviewed by: Barbara VanDenburgh
    Apr 24, 2014
    70
    Dom Hemingway is a naughty good time while it lives up to the unpredictable bawdiness of its opening line.
  2. Reviewed by: Mike Scott
    Apr 18, 2014
    60
    A giddy blend of style and attitude that plays like a lightweight cross between a Guy Ritchie and Wes Anderson film.
  3. Reviewed by: Joe Williams
    Apr 17, 2014
    75
    The movie is best enjoyed as a minor-key operatic, not a coherent story. While Law bellows blasphemous poetry, his director orchestrates a noirish light show with a cockeyed rhythm.