Critic Reviews



Based on 35 critic reviews provided by Metacritic.com
This movie plays better than perhaps it should. Directed as a debut by Daniel Barber, it places story and character above manufactured "thrills" and works better.
Harry Brown has more to say, about aging, about old-school courtesy in collision with blind stupid violence, and about how sometimes pensioners on a fixed income get stuck in neighborhoods that turn dangerous.
This portrait of the soldier as an old man is deeply moving.
Those of us who love Michael Caine have to recognize that his capacity for coldness is part of what makes him great. And in that respect, what he does in Harry Brown is something of a bookend to his extraordinary, and extraordinarily chilly, turn in Mike Hodges' cold-blooded 1971 Get Carter.
Miami Herald
A mean and exceedingly well-made little B-picture, but the questions it raises are far too complex to answer with a simple gunshot.
Unlike "Dirty Harry," this film doesn't particularly have an overt political ax to grind. But it thankfully strips away the veneer of glamour that Guy Ritchie and his imitators have applied to British crime films over the last decade or so.
A tight, anxious little film that plays like a call to arms for senior citizens, Harry Brown could be "Gran Torino" reimagined as a subdued episode of "Prime Suspect."
Gritty and compelling up to a point, but cheaply exploitive as well.
Here's a rough-and-tumble British drama that, despite a strong spine, ought to be more like its title character: quiet and deadly -- and less showy.
Part punk-drab British art-house portrait of underclass despair, part bloody vigilante pic, Harry Brown is shakily held together by industrial-strength sound design and the expertly employed theatrics of Michael Caine in the title role.
In "Gran Torino," Eastwood took on the moral issues that screenwriter Gary Young and first-time director Daniel Barber studiously avoid. It's the difference between riveting and repellent.

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