The Samaritan Reviews

  • [Jackson's] doleful revenant is in almost every scene, and this hardworking actor seems to know that the film around him should be a light-footed caper instead of a grim noir with a side order of deviance.

    Jeannette Catsoulis — New York Times

  • Weaver's story slowly begins to buckle under the weight of its own self-seriousness and familiarity, concluding with a showdown and resolution marked by one implausible and unsatisfying been-here-done-that twist after another.

    Nick Schager — Village Voice

  • Way too much psychosexual melodrama, portrayed in performances that range from utterly bored (Jackson) to embarrassingly broad (Kirby).

    Elizabeth Weitzman — New York Daily News

  • The theme's familiar, but The Samaritan's stylish palette -- the colors of corruption and despair -- paints it new.

    Kathleen Murphy — MSN Movies

  • "The Samaritan" isn't a great noir, but it's true to the tradition and gives Samuel L. Jackson one of his best recent roles.

    Roger Ebert — Chicago Sun-Times

  • If anything, this Canadian production misses a great opportunity to dig into its setting and examine the dark side of seemingly pristine Toronto, even as the script by Elan Mastai and director David Weaver labors over a mostly boilerplate storyline.

    Robert Koehler — Variety

  • "The Samaritan" proves that even Samuel L. Jackson can be boring.

    Kyle Smith — New York Post

  • Sets itself up as a crime thriller yet fails to deliver more than a twinge of surprise as it meanders toward a flaccid endgame swindle.

    Linda Barnard — Toronto Star

  • A scripted cliche: the ex-con who wants to go straight until the plot kicks in.

    Rick Groen — Globe and Mail

  • A rock solid Samuel L. Jackson adeptly anchors the twists and turns of this noir crime thriller.

    Michael Rechtshaffen — Hollywood Reporter

  • The haphazard feeling of the narrative deflates any real tension.

    Mark Olsen — Los Angeles Times

  • The Samaritan benefits substantially from the inclusion of a shocking turn in the narrative at around the halfway point...

    David Nusair — Reel Film Reviews

  • What could have been an intriguing character study about redemption turns into an absurd series of eye-rolling plot twists that makes it impossible to take this mess seriously.

    Todd Jorgenson — Cinemalogue.com

  • Director David Weaver and co-writer Elan Mastai's neo-noir script is just a shadow of the genre.

    Annlee Ellingson — Paste Magazine

  • It packs its narrative with a succession of increasingly cliched twists, one of which involves the sudden recognition that its main character, Foley (Samuel L. Jackson), is romantically involved with his own daughter.

    Diego Costa — Slant Magazine

  • The experience of watching Samuel L. Jackson actually act is the only real pleasure to be gleaned from the movie.

    Robert Levin — Film School Rejects

  • It's not honest with its people, or its plot. And the only ones it really cheats are audience members.

    Stephen Whitty — Newark Star-Ledger

  • Even the spirited Ruth Negga can't lift this by-the-numbers neo-noir out of its dull parboiled rut.

    Kurt Loder — Reason Online

  • Director David Weaver and co-writer Elan Mastai twist the movie in several different directions before settling for a professional but generic pulp thriller.

    Norman Wilner — NOW Toronto

  • It seems impossible that Jackson could go through an entire movie without ever raising his voice, but here he is.

    Jim Slotek — Jam! Movies

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