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One of the most blisteringly effective pieces of urban cinema ever made

Hate is, I suppose, a Generation X film, whatever that means, but more mature and insightful than the American Gen X movies.

A respectable (if unnecessary) reboot that's brutal, well acted and not overly serious.

The fault lies mainly with Marcus Nispel, German music-video director turned specialist in useless genre remakes, and not a man to whom any sane producer would entrust 3D.

Good intentions often make bad movies.

The filmmakers split time between history and personal drama in ways that do full service to neither.

The stereotypes and blatant propaganda wouldn't irritate so much if the action itself wasn't so relentlessly dreary -- a desert of imagination, parched of original ideas.

An adventure that never met a cliche it couldn't saddle, mount and ride for a butt-numbing two hours and sixteen minutes.

While Jordan's repeated freeze-frames try a little too hard for nonchalance, the overall cocktail of Gallic insouciance and American film noir grit delivers such relaxant properties you forgive a few foibles.

The Good Thief has a shambling grace to it, both jazzy and gritty at the same time.

The most striking thing one might note about Crime Spree is just how it manages to make so much look bad while adding up to so little.

Funny? Not quite. Thrilling. Not really. So what's the point?