Icon Film Distribution | Release Date: March 22, 2019 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
19
Mixed:
14
Negative:
0
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Critic Reviews
The craft of the re-enactment is more impressive than the script, which defaults to hackneyed dramatic moments, reminiscent of a generic disaster film, with its stock upstairs-downstairs tropes, young lovers, the cynic-turned-hero, and the dutiful subalterns showing courage above their pay grade.
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Hotel Mumbai sometimes surrenders to melodrama and action-genre imperatives, and it mixes actual people like Oberoi with fictional composites in a way that strays from the stringent just-the-facts discipline of a docudrama like United 93. But there is value, too, in its subjective approach.
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Maras and his cast craft such a chilling, narratively grueling dramatization of the episode — chaos worsened by the lack of tactical response forces in Mumbai — it’s tough to view quietly-played everyman heroics as the story’s takeaway. These striving unfortunates are just too hopelessly, fatally overmatched for that. Audiences are likelier to leave horrified or, at best, numb.
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Aussie director Anthony Maras, in his feature debut, brings a Hitchcockian feel for suspense and a documentarian’s eye for detail to the brutal events that transpired over three days in November 2008 when the Islamist militant group Lashkar-e-Taiba initiated an attack on the city of Mumbai.
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Is it any surprise that this disturbing brand of cinema was triggered by 9/11, a catastrophe that, despite the valor it called forth, and the wars that ensued, lies beyond redemption and revenge? Or that Hotel Mumbai, a well-staged model of the form, should leave you feeling fidgety and low? You can admire a film, reel at the horrors it unfolds, and still wind up asking yourself, helplessly, what it was all for.
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The Film StageSep 14, 2018
Hotel Mumbai is a great crowd pleaser but with a dangerously myopic narrative that, even with its flaws, serves a fitting tribute to the resilience of the people who lived and died through the terror attacks of 2008, but it definitely needs an audience which doesn’t believe everything it sees.
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