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90This darkly seductive, flawlessly acted piece is worlds removed from most horror films. Here monsters have their grandeur, heroes their gravity. And when they collide, a dance of death ensues between two souls doomed to understand each other.
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90Audiences will be excused for any feelings of déjà vu the new film might inspire. That won't prevent them from watching it in rapt, anxious silence, however, as the gruesome crimes, twisted psychology and deterministic dread that lie at the heart of Harris' work are laid out with care and skill.
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88To my surprise, Ratner does a sure, stylish job, appreciating the droll humor of Lecter's predicament, creating a depraved new villain in the Tooth Fairy (Ralph Fiennes), and using the quiet, intense skills of Norton to create a character whose old fears feed into his new ones. There is also humor, of the uneasy he-can't-get-away-with-this variety, in the character of a nosy scandal-sheet reporter (Philip Seymour Hoffman).
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80Is Red Dragon a better film than "Manhunter?" I don’t know. I think it stands on its own, but I wonder how much people who are intimately familiar with "Manhunter" will be shocked by it, although the ending is altogether different and much more realized, I think.
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80Thankfully, Emily Watson comes to his rescue with her spot-on portrayal of the killer's blind girlfriend; her rich performance works wonders in the absence of Jodie Foster. Now, if only they could remake Hannibal before they assemble that boxed set.
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80Red Dragon is certainly an improvement on “Hannibal.” It has something the Ridley Scott movie didn’t -- a good story -- and it will no doubt keep the franchise rolling in dough.
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78It's chilling what Fiennes can do with so very little; he looks like a wounded puppy half the time and sounds like one to boot.
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75Red Dragon is very much a product, and a superior one, of our times. So is Anthony Hopkins' top-notch fiend, the bad doctor.
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75The most refreshing aspect of Red Dragon is its reliance on old-fashioned acting instead of computer-aided gizmos. Hopkins overdoes his role at times -- his vocal tones are almost campy -- but his piercing eyes are as menacing as ever, and Ralph Fiennes is scarily good as his fellow lunatic.
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75Ratner is canny enough to close the movie with a devilish tease that will send the Lambs faithful out with a delirious smile. What Red Dragon won't do is haunt your nightmares. Who could have guessed Hannibal Lecter would ever become such a crack-up?
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75I quibble over a film that has none of the artistic pretensions of "The Silence of the Lambs." This is more of a greatest-hits Hannibal movie, with a thunderingly portentous soundtrack, lots of mugging and autopsy detail, and a bang-up double ending.
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75It's frightening enough, to be sure, but too often it feels like a well-executed but rote exercise.
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75As Hopkins's Lecter is concerned, it's official: He's Freddy Krueger.
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70The only downside to this delectable third course? The regrettable likelihood that Lecter fans will have to make do without dessert.
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70What Ratner brings to the proceedings is an awareness that what worked for "Silence" -- namely screenwriter Ted Tally, production designer Kristi Zea and, of course, Anthony Hopkins as Lecter -- will work overtime here, to enhance the project at hand and provide a seamless connection back to Jonathan Demme's multiple-Oscar winner.
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67A thriller made from a completist's checklist rather than with a cultist's passion.
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67An absorbing film, acted with real force by all parties and directed with competence and assuredness if something less than inspiration.
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63For all its brilliant touches, Dragon loses its fire midway, nearly flickering out by its perfunctory conclusion.
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63Our time is plagued with primitive directors toiling in the name of entertainment, and protected by an industry that rewards competence over excellence. They're the reason why this movie is simply average, and why all the Red Dragons look so uniformly beige.
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63Has the grisly appetite, if not the execution of the original. What it also has are monstrously good Ralph Fiennes and Edward Norton, plus a fine young Hannibal to save it.
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60Without the top-notch cast it would be indistinguishable from hundreds of pedestrian serial-killer pictures that clog video store shelves.
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60There's no freshness here, no sense of newness or discovery. In its place, there's an earnest desire not to drop the ball, a determination to risk as little as possible in keeping this golden egg from cracking wide open.
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60The entire picture is a third-generation Xerox copy, in part because adapting Mr. Harris's books for the screen seems to turn directors into rigid formalists.
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Red Dragon is merely the distant echoes of what we liked about "Lambs."
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60For all the lunacies bared within this film, it has the tick and thrum of a solid studio machine, occasionally shocking but never surprising; it will be watched by everybody, but it feels as if it were made by nobody. [14 & 21 October 2002, p. 226]
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50In Hollywood, where integrity is rapidly consumed and careers defined by market value, there's trash and there's trash with a pedigree.
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50Red Dragon is done in a painfully mechanical, by-the-book manner. Scenes are assembled to move the plot from point A to point B. There's no atmosphere. No tension. Flat performances. All of these problems are rightfully laid at the feet of the man in charge.
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50I can't tell you if Red Dragon is more faithful to Harris' book than "Manhunter," which I haven't seen in 16 years. I can tell you it's less artful and atmospheric, a straight-ahead thriller that never rises above superficiality.
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50Basically lives up to the old adage that the final work in a trilogy is invariably the weakest.
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50If you buy the overprocessed headcheese of the serial killer as refined genius, you'll love Red Dragon. Or maybe not. Even Hannibal Lecter devotees may lose patience with this picture's grandiose, self-serious ponderousness -- that's Lecterese for, "It's kind of boring in patches, actually."
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50Suffers from franchise fatigue. Its rote suspense is strictly a business proposition.
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50It more or less works.
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40Norton is a strong lead in an overwrought, mediocre film that trumps even Hannibal in its mercenary shamelessness.
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40I say don't bite unless your taste runs to thin gruel, and grueling gruel at that.
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40Frank Whaley and Philip Seymour Hoffman play minor characters so annoying they might as well wear T-shirts reading "Eat My Brain."
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20Red Dragon's formula is so risible and rote by now that the natural reaction to scenes of peril, torture, and suffering is flippant laughter.
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User score distribution:
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Positive: 21 out of 30
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Mixed: 4 out of 30
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Negative: 5 out of 30
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9This review contains spoilers, click full review link to view.