| 91 |
The Onion (A.V. Club)
The film unravels a bit in the last few moments, amid unanswered story questions and a simplistic climax, but until that moment, Redbelt is Mamet's richest film of the decade.
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| 83 |
Entertainment Weekly
Mamet regulars Ricky Jay and Joe Mantegna blend well with Mamet newbie Tim Allen, a treat as a spoiled-rotten aging Hollywood action star.
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| 83 |
Seattle Post-Intelligencer
Mamet is more respectful than exciting as an action director, but his fascination with how things work, be it the mechanics of designing and promoting a big pay-per-view event or battling a world-class Jiu-jitsu master, makes it all quite mesmerizing.
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| 80 |
The Hollywood Reporter
As the heart and soul of the film, Chiwetel Ejiofor once again impresses.
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| 80 |
The New York Times
A satisfying, unexpectedly involving B-movie that owes as much to old Hollywood as to Greek tragedy.
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| 80 |
Los Angeles Times
Ejiofor brings a calm magnetism and a beatific serenity to his roles that have the effect of knocking you flat -- there's something about this guy that's messianic.
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| 75 |
USA Today
It's certainly not Mamet's signature rapid-fire dialogue, but it's an intriguing and engrossing departure.
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| 75 |
Rolling Stone
Mamet is on his game, and that is a sight to see. No con.
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| 75 |
New York Post
This isn't Mamet at his finest, though, which leaves us with a script that is merely three times as smart as the average feature.
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| 75 |
Premiere
For whatever its flaws, Redbelt offers up a good deal of Mametian red meat while also trying to break out of some of the strictures that Mamet's erected around his own work.
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| 75 |
San Francisco Chronicle
Entertaining in a pulpy kind of way, like the fight films of the 1930s and '40s, and more accessible than most of Mamet's movies.
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| 75 |
Miami Herald
In Redbelt, David Mamet enters the realm of sports drama and Rocky-underdog clichés and discovers it's a surprisingly good fit.
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| 75 |
Chicago Tribune
Not everyone can act his material with ease. But Ejiofor, who brings a serene gravity to every exchange, was born to do Mamet.
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| 75 |
Portland Oregonian
Mike Terry's uncompromising fight for his principles makes for a fascinating, beautifully acted study in philosophical tension.
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| 75 |
Boston Globe
What Redbelt reminded me of more than anything else was a modern version of a classic film noir, particularly 1950's brilliantly seedy "Night and the City," with its pro-wrestling subplot.
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| 75 |
Chicago Sun-Times
It never really pulls itself together into the convincing, focused drama it promises, yet it kept me involved right up until the final scenes, which piled on developments almost recklessly.
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| 70 |
Time
Despite its novel milieu somehow remains trapped in genre conventions. It's still basically a boxing picture, not essentially different from dozens of other movies about life in and around what the old time sportswriters used to call "the squared circle." Mamet's circle is, alas, just a little too square.
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| 70 |
Newsweek
Thanks to Ejiofor's wonderful performance--his easy, commanding body language wordlessly convinces you of his character's nobility--and Mamet's knowing take on the arcane world of Brazilian jiujitsu, Redbelt never loses its muscular hold on your attention.
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| 70 |
Washington Post
What is memorable is the film's portrait of a man of honor in a sleazy world, possibly a metaphor for the struggle of the artist to stay honorable in a world of backbiting, betrayal and hunger for easy money.
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| 70 |
Chicago Reader
It's a classic fight movie, with Chiwetel Ejiofor as an honorable martial arts instructor...But nesting inside is a sour little 70s-style David Mamet play about the lies, calculations, and ice-cold politics of Hollywood, as the fighter is befriended and then discarded by a callow movie star.
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| 70 |
Village Voice
With his 10th feature--an entertaining tale of high-stakes martial arts--Mamet has infused the sleight of hand with a measure of two-fisted action.
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| 70 |
Variety
An absorbing and colorful, if not particularly convincing, excursion into a demi-monde of fighters, scammers, promoters and self-styled modern samurai, Redbelt gives the impression of Mamet coyly toying with the idea of making a populist little-man-against-the-system sports melodrama without actually attempting to create a film for the masses.
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| 70 |
New York Magazine
So how's the Mamet "Rocky"? Fast. Lively. In your face. Very watchable. And, like its predecessors, so bizarrely convoluted it barely holds together on a narrative level. But the underpinnings are consistent.
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| 70 |
Wall Street Journal
Mr. Ejiofor gives a commanding performance, perfectly calibrated in what's withheld just as much as what's revealed.
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| 67 |
Austin Chronicle
In the end, Redbelt prevails, just as Terry teaches his students to prevail, but getting there isn't always pretty.
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| 63 |
Philadelphia Inquirer
One of the problems with the way Mamet resolves Mike's predicament is that it's ridiculously implausible - even in the context of a far-fetched fight story.
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| 63 |
The Globe and Mail (Toronto)
Disappointingly unique.
|
| 63 |
ReelViews
The plot is borderline ridiculous and certainly doesn't stand up to close (or even not-so-close) scrutiny, but there's a level of entertainment to be had watching it unfold in all its strangeness.
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| 63 |
TV Guide
A perverse mixed-martial arts film in which talk trumps action.
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| 60 |
New York Daily News
Redbelt will fascinate those who share David Mamet's interest in mixed martial arts. But its hold may be weaker on those who don't.
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| 50 |
Christian Science Monitor
David Mamet and jujitsu come together in Redbelt, and the result is a draw.
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| 40 |
Salon.com
Mamet's trademark artificial, mutual-incomprehension dialogue and con-game plotting are ineptly matched to the action genre (and feel stale in any case), while the jiu-jitsu scenes are so incoherently shot and edited you can't tell if the fight choreography is any good or not.
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