User Score

No user score yet- Awaiting 2 more ratings

User score distribution:
  1. Positive: 2 out of 2
  2. Mixed: 0 out of 2
  3. Negative: 0 out of 2

Review this movie

  1. Your Score
    0 out of 10
    Rate this:
    • 10
    • 9
    • 8
    • 7
    • 6
    • 5
    • 4
    • 3
    • 2
    • 1
    • 0
    • 0
  1. Submit
  2. Check Spelling
  1. Mar 20, 2012
    "Nothing is what it seems to be in SILVER TONGUES... Writer-director Simon Arthur, whose affinities for sociopathic antics evoke the psychological mousetraps of Neil LaBute and David Mamet, maintains suspense with unyielding dramatic momentum." - Steve Dollar, THE WALL STREET JOURNAL "A cynical, ice-cold tease... Clever and well acted..." - Jeanette Catsoulis, THE NEW YORK TIMES ... "A really well-crafted psychological drama, made with terrific technical flair: clearly influenced by David Mamet but nonetheless very distinctive and supremely watchable."- Peter Bradshaw, THE GUARDIAN

    "An impressively dark and deranged tale of scams, manipulation and sexual control" - Mark Adams, Screen International

    "Deliciously evil... Brilliant" - Stars and Popcorn

    "Compelling" - Eric Kohn, indieWIRE

    "A must see film" -

No score yet - based on 3 Critics

Critic score distribution:
  1. Positive: 0 out of 3
  2. Negative: 2 out of 3
  1. Reviewed by: Jeannette Catsoulis
    Nov 17, 2011
    Filled with joyless people in drab rooms (Josh Silfen's grubby cinematography doesn't make things any cheerier), Silver Tongues takes a novel idea and uses it to jerk us around. Swirling with unease, its scenes set us up for a payoff that never materializes and strand its actors in a bitter present.
  2. Reviewed by: Neil Young
    Nov 16, 2011
    Silver Tongues isn't a film that ever tries to be especially palatable. Its cynicism is of an unusually bitter, even nihilistic flavor, in the vein of early Neil Labute. This leaves an intriguing, memorable but naggingly unpleasant aftertaste.
  3. Reviewed by: Kalvin Henely
    Nov 16, 2011
    Silver Tongues is the creation of a filmmaker who's not an acute observer, but a trickster, one who values being clever for the sake of being clever.