It's awash with broad humour, comedic contrivances and sitcom setups.
| Original Score: 2.5/5
This isn't homicide, it's hagiography.
| Original Score: 2/5
Killing Bono never really gets going, mostly because it has no real idea of how to convey joy, pain, or any type of emotional progression.
| Original Score: 1.5/4
We still haven't found what we're looking for.
I've not been this disappointed by a movie's title since that Penelope Cruz film Blow turned out to be about a drug dealer.
| Original Score: 3/5
The music is terrible, and for a comedy it's chronically short of laughs.
The migraine of a story arc needed sharp comedy reflexes or, at least, a live-wire/slummy star turn and got neither.
the story of what would charitably be called a wackadoo
| Original Score: 1.5/5
A shapeless rock-music caper that, like its deluded antihero, just doesn't know when to stop.
A drearily familiar tale of a band's life on the road. With added Bono.
Feeds off a tenuous U2 connection to give a not-very-interesting tale of a rock'n'roll failure a higher profile.
Comes with preposterous embellishments - a criminal subplot here, an assassination attempt there - and a lily-livered eagerness to depict Bono as the nicest singer ever to walk the earth.
A clever idea that can't find its feet on the bigger stage.
Hamm, working from a script co-written by Dick Clement and Ian La Frenais, seems unable to decide what tone he's aiming for - broad knockabout comedy or bittersweet reminiscence.
Though Nick Hamm directs with zest, the script by Dick Clement and Ian La Frenais, adapting rock critic Neil McCormick's autobiography, is low on laughs.
| Original Score: 1/5
Dialogue is occasionally sharp, even genuinely funny at times, but not often enough to support the farcical antics of the last act.
Don't expect any factual expose about the formative years of U2; this is more of a rock farce in which the band is sort of a plot device.
| Original Score: C
There's a difference between "funny" and "comedy," and the movie adaptation of Killing Bono tries way too hard to be nutty, at the expense of just getting across what McCormick knows.
| Original Score: C-
While Barnes and Sheehan are persuasive as the squabbling siblings, the music-biz mockery is blunt and obvious.
Funny, irreverent, slightly bitter, and brimming with self-importance and self-loathing.
| Original Score: B-