[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
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
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
The Samaritan takes a jarring turn right out of Park Chan-wook, and from there takes a tumble into ludicrousness from which it doesn't recover.
Alison Willmore - Movieline
It's thoroughly mediocre, which feels like such a disappointment when one considers that the script's ingredients include murder, deception, sex, and ungodly sin.
Brian Orndorf - BrianOrndorf.com
Jackson seems only interested in cashing his paycheck, even if it's not an especially large one.
Sam Adams - AV Club
...goes from mechanical to (unintentionally) hilarious, stopping frequently at the cliche shop along the way.
Chris Barsanti - Film Journal International
[VIDEO ESSAY] The Samaritan" is a juicy little crime thriller that does the job.
Cole Smithey - ColeSmithey.com
Despite its exploitation ambitions, this Samaritan is good only for a last-ditch swerve into schmaltz.
Eric Hynes - Time Out
Probably hoping audiences will mistakenly assume this to be a comic book spin-off, the cynically-titled Fury is a derivative, low-energy slog pretty much from start to finish.
Shaun Munro - What Culture
If the trickery isn't quite as multilayered as we might hope, there's still Jackson's furious performance to appreciate. He as fun to watch as he always is.
MaryAnn Johanson - Flick Filosopher
It's a slow build until the final act, but it remains gripping thanks to a snaky plot that gets nastier and scarier as it develops.
Rich Cline - Shadows on the Wall
Jackson carries all before him.
Derek Malcolm - This is London
Surely there were sheepish faces all round in Jackson's camp when they saw this?
Cath Clarke - Time Out
It wants to be a nimble-footed con movie, but also a bludgeoning (and bloody) revenge thriller, neither of which it succeeds in.
Good early running is seriously undercut by tiresome twists, predictable turns and a rushed, botched, improbable ending.
Adam Lee Davies - Little White Lies