Critic Reviews



Based on 27 critic reviews provided by Metacritic.com
De Niro is so good at playing a man who has essentially emasculated himself because of fear of his anger, so that sex and anger may be leashed in precisely the opposite way, as in "Raging Bull." And Norton, the puppetmaster - it may not even be freedom he requires, but simply the pleasure of controlling others to obtain it.
Ultimately, Stone is a haunting film about what it feels like to be really and truly lost.
I was with the movie until its head-scratcher of an ending, too oblique for its own good.
Genuinely odd in its mixture of bluntness and indirection, screenwriter Angus MacLachlan's study in biblical temptation is saved from its own heavy-handedness by a fine quartet of actors.
So few Hollywood movies go here that this one's oddly welcome, even in its most turgid moments, of which there are many.
Norton, too, keeps us guessing, though his pseudo-tough-guy line readings (and cornrowed hair) are initially distracting. But his scenes with De Niro -- who fills every twitch or glance with Jack's long-buried guilt -- are the guts of the movie.
Because the film is overproduced and unconvincing in telegraphing its several gestural themes, its excellent lead performances get lost in what feels like an aesthetic tug of war over what a movie should be, and do.
Nothing is etched in anything remotely resembling a hard surface in Stone.
Milla Jovovich slinks cartoonishly as Stone's seductive wife, on a mission to compromise the lawman. Lordy.
There is not a credible moment in this overly calculated melodrama.
This is a film about people who are lost, and the filmmakers draw a direct line between their characters' existential wanderings and the religious obsessions they find for themselves.

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