Critic Reviews

46

Metascore

Based on 11 critic reviews provided by Metacritic.com
80
Film Threat
Top it off with a cameo by the real-life Phil Kaufman, and you've got a rock'n'roll road movie like no other. Wherever he is, Gram should get a kick out of it.
70
Variety
A likably laid-back spin about the bizarre fate of rock 'n' roll legend Gram Parsons' corpse. Inspired by a true story, pic travels down familiar genre highways, but quirky humor and an apt soundtrack make for a pleasant enough journey.
63
New York Daily News
Gram Parsons' last rites were among the most extra­ordinary in rock history. Too bad this retelling of the singer's final adventure is so tame.
50
Village Voice
Neither a satisfying exploration of ’70s culture, nor a madcap "Weekend at Bernie’s" caper, nor an informative paean to Parsons's legacy, Grand Theft stumbles toward all three possibilities, backpedals, then stalls, left to coast as an insipid road movie.
50
New York Post
The film is too low-key to be the farcical rock-and-roll jape it sometimes seems to strive for, yet too lighthearted to be affecting.
50
Knoxville is surprisingly good playing a man who may have been in one too many barroom brawls, moving with a hunched, hips-forward swagger that suggests someone constantly walking through very low doorways.
50
Parsons himself might have written a surreal, funny-sad ballad about the aftermath of his own death, but Grand Theft Parsons is little more than a surreal anecdote, told in too much detail and without enough soul or imagination to make anything more than a footnote to a legend.
50
The Hollywood Reporter
What could have served as a colorful episode in a more expansive film about the famed singer has instead become the premise of a mildly entertaining but overextended road movie that doesn't succeed on either dramatic or comedic terms.
40
The best thing about the whole sorry enterprise is the soundtrack, which features choice tunes by Bruce Springsteen, Starsailor and, of course, Parsons himself.
30
L.A. Weekly
Irish director David Caffrey and English screenwriter Jeremy Drysdale have, respectively, zero sense of pace and a tin-eared grasp of period speech, and together fail either to let us care about their characters or to create any sense of a living era.

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