(2010)

Critic Reviews

74

Metascore

Based on 42 critic reviews provided by Metacritic.com
91
A rich, dark, pulpy mess of entanglements that fulfills all the requirements of the genre, and is told with an ease and gusto that make the pulp tasty.
90
Wall Street Journal
As a thriller, The Town has what it takes and then some.
88
Affleck and Hall make this unlikely love story palpably moving. And Renner (The Hurt Locker) is dynamite - he radiates ferocity and feeling.
88
Though the narrative is a conventional one, the well-acted, suspenseful story deals in fascinatingly murky morality and mines intriguing material from a historic and complex city.
88
An exciting and extremely well acted film. Even a nearly unrecognizable Blake Lively impresses in the key role of Jem's sister and Doug's sometime girlfriend.
80
A fast-paced, character-driven heist movie that combines robberies with romance and solidifies Affleck's reputation as an actor with a genuine gift for directing.
80
Affleck keeps the film as fluid as the "Mystic River," and never forgets that Renner is his ace in the hole. The "Hurt Locker" star charges up every scene he's in with feral power, and is rewarded with one of the most exciting sequences seen in any action movie this decade.
80
The trick to enjoying The Town, Ben Affleck's follow-up to his impressive 2007 directing debut, "Gone, Baby, Gone," is to expect nothing but pulpy entertainment.
80
The Town lacks Gone's operatic ambitions. And the irony is that that lack of a grand or even grandiose plan keeps this very good film from being a truly great one.
75
A first-class genre entry stacked with dandy performances and some crackerjack action to boot.
75
Affleck is more interested in the people in the midst of the action than he is in the action itself, and that gives this accomplished genre piece considerable and compelling depth.
60
Affleck gets the tribalism of Boston's traditionally Irish-American enclaves; it's a defining force in his character's lives. But for all their well-played grit, those characters resolutely remain types, and for all the well-choreographed action, the outcome doesn't matter nearly as much as it should.

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