The Brothers Bloom Reviews

  • The novelty here, and it's a good one, is that Johnson decorates and deepens the gamesmanship with tender shoots of family feeling.

    Owen Gleiberman — Entertainment Weekly

  • Beyond that your response to the movie, which takes too conspicuous a delight in its own cleverness, is likely to be a shrug and a "so what?"

    Stephen Holden — New York Times

  • Ruffalo has some of the sharpest lines, and Brody's soulfulness is ideal for the role of a disillusioned introvert. With her enthusiasm, warmth and intelligence, Weisz is an inspired choice to play Penelope.

    Claudia Puig — USA Today

  • A screwball comedy for the New Depression, "The Brothers Bloom" makes an abundant number of erudite references that mean almost nothing, and, like most con-man movies, it can't be trusted.

    John Anderson — Washington Post

  • A con game about con games, the second film from writer-director Rian Johnson is breezily enjoyable for about 10 minutes, until you realize the entire movie is going to be pitched at the same exuberantly manic pace.

    Ty Burr — Boston Globe

  • Johnson has infused The Brothers Bloom with so much heart and beauty that one can and should easily overlook its discomfiting moments.

    Robert Wilonsky — Village Voice

  • There's a tradition of cons in storytelling, yet not everyone can pull it off.

    Dean Essner — New York Daily News

  • Even if you don't quite comprehend the ending (there seem to be 12 of them), you'll still feel the wallop of its consequences.

    Amy Biancolli — Houston Chronicle

  • Watching this movie is like being elbowed in the ribs for two consecutive hours.

    Christopher Kelly — Dallas Morning News

  • The writer-director builds on his tremendous gift for gab and fondness for intricate narratives.

    Lisa Kennedy — Denver Post

  • This movie is lively at times, it's lovely to look at, and the actors are persuasive in very difficult material. But around and around it goes, and where it stops, nobody by that point much cares.

    Roger Ebert — Chicago Sun-Times

  • It often seems precious and overconceived, its accumulating crosses and double-crosses as devoid of consequence as a child's backyard game.

    J. R. Jones — Chicago Reader

  • These components add up to precious little in this precious affair too concerned with its look to say much worth listening to.

    Carrie Rickey — Philadelphia Inquirer

  • The leads have zero comedic skills, but you can tell they're being funny because they all wear sarcastic hats.

    Colin Covert — Minneapolis Star Tribune

  • Rian Johnson's direction is as self-conscious as his script, but, helped by winning performances from Adrien Brody, Mark Ruffalo and Rachel Weisz, it comes off as clever, even if the writing seems strained at times.

    Bill Goodykoontz — Arizona Republic

  • Annoyingly hammy and trite.

    Rex Reed — New York Observer

  • As a pair of brothers raised to be topnotch grifters, Adrien Brody and Mark Ruffalo are seldom allowed to play off of each other amid the film's breathless busyness and adoration for eccentricity.

    Robert Koehler — Variety

  • Imagine Dirty Rotten Scoundrels filtered through the increas ingly hermetically sealed sensibility of Wes Anderson, and you've got Rian Johnson's disappointing The Brothers Bloom.

    Lou Lumenick — New York Post

  • It's all a con, but thanks to Johnson's way with characters and dialogue, we don't mind the hustle so long as we're rewarded along the way.

    Roger Moore — Orlando Sentinel

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