Metacritic reviews

As Refn counts down the days and ratchets up the tension, Pusher shifts from a subdued lowlife sketch, with lots of raunchy conversation between Buric and his horndog ex-con buddy Mads Mikkelsen, to a nail-biting look at a man running out of options.

The subject has been done before, but Refn avoids the cliches, both in the story itself and its telling.

The film practically vibrates with youthful aggression, sly humor and gathering tension, hurling itself forward like a junkie toward the next fix.

As botched-drug-deal tales go, Pusher digs surprisingly deep— its surface clichés give way to an existential despair that finally swallows the movie whole.

There's something rotten in Denmark, as Mean Streets meets GoodFellas in Copenhagen, and while it could never rival either of the above, this striking, powerfully gritty tale about a week in the life of a drug dealer is still well worth seeing. A promising debut.

Refn's direction in Pusher exhibits an uncanny prescience for techniques that would peak a decade later as reality TV -- low-budget, digital video; the use of a tipsy, peripatetic camera; and a wide-angle lens to engulf all the action.

[Refn] mixes jittery hand-held camerawork, improvised dialogue and available light to create a nightmarish world of sex, drugs and horrific brutality that will turn off many viewers while delighting others.

Pusher begins as a fairly standard ’90s crime saga, almost an open imitation of Quentin Tarantino... But something happens on the way to the film’s haunting and ambiguous conclusion.

Despite the gritty subject matter, combined with some clichéd set pieces, interest is retained right through to the bleak end, largely due to the direction and Refn's handling of the excellent cast.

Mr. Refn may yet have justification for boasting about his natural talent. There is one magnificent scene in Pusher... Maybe Mr. Refn's next film will take us into that emotional territory.