Critic Reviews



Based on 14 critic reviews provided by Metacritic.com
Genre movies are rarely this finely calibrated and nuanced and it's all too infrequently that Statham is able to perform in material this dynamic.
As a statement about the fixed nature of cinematic tropes, Redemption provides a compelling supplement to Statham's current stardom.
A debut effort that occasionally bogs down in its own symbolism.
[Redemption] doesn't always work but wins points for originality.
The more correct title would have been “Retribution,” which could work for any number of Statham vehicles over the years. But Redemption is just different enough to make us remember “The Bank Job” or “Killer Elite” or that he's about to give those fun-but-silly “Fast & Furious” movies a proper villain.
When Redemption works, it's as a series of writerly miniatures fleshed out by Statham's street-tough charisma and Chris Menges' neon-soaked nighttime camerawork.
Part somber character study and part revenge thriller, Steven Knight's debut feature lacks the thematic depth necessary to take it seriously while not featuring enough of the high-octane action that its star's fans have come to expect.
Statham's broody charisma and veteran cinematographer Chris Menges' ("The Killing Fields") eclectic views of contemporary London help hold interest, even as we ponder what Knight is really trying to say.
Redemption doesn't have the chutzpah to let loose and be as dumb as it needs to be, so it instead bores the audience comatose with long stretches of sad-face Statham putzing around an apartment to justify the too-brief bursts of giddy bone-breaking.
New York Magazine (Vulture)
In Redemption, too, Statham brings real conviction to the part of a broken man who winds up breaking himself even more. Look beyond the generic shell, and this wildly imperfect movie appears to have a rare soul lurking inside it.
An awkward mix of realist social drama and Statham actioner, this doesn't quite convince as either.
Nothing in Redemption quite adds up, including the paranoid hero's insistence that he's being watched by drones.
There's a need for redemption here, to be certain, and it has nothing to do with the narrative.
The New York Times
Its narrative continuity is so sketchy and the screenplay so haphazard that the movie doesn't add up to more than trash, seasoned with pretentious religiosity.

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