Critic Reviews
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70
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Village Voice
Insular and indulgent as it is, though, the movie is never less than a visual treat.
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40
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The Hollywood Reporter Kirk Honeycutt
Moshe, who wrote and directed, creates a boldly Expressionistic alternate reality to background this heavy-on-the-action story, but neglects narrative and character beyond the most basic strokes.
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40
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Time Out New York Eric Hynes
Bunraku aspires to be "Kill Bill: Vol 3"; it's more like an ornate pitch for a "Dick Tracy" reboot.
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38
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Boston Globe Wesley Morris
If Bunraku were serious about subverting or reinventing the genres it's cobbled together, Moore would play the gunslinger or the samurai or the crime boss. But no. All she gets are a couple of scenes that demonstrate that she still looks great soaking wet.
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30
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Variety Dennis Harvey
It's a picture that's akin to a terrarium of plastic flowers -- gaudily decorative, but airless and lifeless.
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30
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The New York Times
Everything feels secondhand in Guy Moshe's Bunraku, a potpourri of genres that ends up a morass of clichés.
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30
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Los Angeles Times Robert Abele
No image or moment is grounded - every shot is augmented with restless animation, smart-ass narration or video game sounds. The artificiality of it all is smothering.
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20
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New York Daily News Joe Neumaier
It should surprise no one that visually quirky, graphic-novelish, pulp-noir action flicks rarely come through the sausage machine intact.
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12
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Slant Magazine Nick Schager
Writer-director Guy Moshe's crime saga is a work of second-generation
derivation, weaving together scraps from homages to Westerns, film noir,
samurai films, gangster pics, and class-warfare dramas.
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0
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New York Post Lou Lumenick
Extremely cool-looking in the manner of "Sin City,'' but clumsily staged, slackly acted and mind-numbingly dull, Israeli director Guy Moshe's English-language fantasy is set in a future when guns, and apparently coherent conversations, have been outlawed.
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