| Entertainment Studios Motion Pictures | Release Date: December 22, 2017 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
23
Mixed:
15
Negative:
3
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Critic Reviews
Jan 19, 2018
Most powerfully about what violence does to the soul: Joe is almost dead to the world, and to himself. Not quite, though. This harshly beautiful film is equally about his regeneration during the course of a journey that amounts to a parable of humanity trying to climb out of the pit of endless slaughter and retribution.
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Dec 21, 2017
Dec 21, 2017
Hostiles itself wants to be both a throwback and an advance, not so much a new kind of western as every possible kind — vintage, revisionist, elegiac, feminist. What makes the movie interesting is the sincerity and intelligence with which it pursues that ambition, heroically unaware that the mission is doomed from the start.
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Jan 17, 2018
With his hard-bitten squint and studied air of scowling detachment, Bale seems to be channeling Clint Eastwood at his most enigmatic and reserved; like Eastwood and his characters, Bale allows both the camera and his fellow characters to come to him, rather than proving his bona fides through more obvious and eager means.
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Jan 11, 2018
Bursts of intense violence are punctuated with sometimes tedious blocks of speeches and silence, but Hostiles, despite its posture of brutal amorality, has a goodness at its core, of understanding and empathy. It also has something that so many sequel and franchise-hungry studios today wouldn’t dare show — an actual ending.
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Jan 4, 2018
It’s Blocker’s story, and Bale’s very good. But for Hostiles to fully make sense of its introductory on-screen D.H. Lawrence quotation — “The essential American soul is hard, isolate, stoic, and a killer. It has never yet melted” — we’d need a tougher, less comforting ending than the one Cooper provides.
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Jan 4, 2018
What is Cooper after here? He seems to want us to gasp at the naturalistic horror of it all, drawn from history and accompanied with the sober denunciation of actual frontier massacres (Blocker is a veteran of Wounded Knee), but the parade of grotesque violence (murders, rapes, suicides) suggests something more surreal, less literal.
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Though it basically argues that the surest way to overcome racism is to spend some time getting to know “the other,” Cooper’s film offers audiences no such opportunity, depriving its native characters of so much as a single scene in which they are treated as anything more than abstract plot devices in service of the white folks’ enlightenment.
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Movie NationJan 25, 2018
Interminably slow of foot, filled with static, anachronistic and politically correct sermons performed in a whisper, bloody-minded outburst interrupting the beautiful scenery photographed like a cut-rate cable TV movie, it is an utterly inept outing from the director who got Jeff Bridges his Oscar.
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