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The Heir Apparent: Largo Winch Reviews

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James Plath
Movie Metropolis

If you like the Bond movies, you owe it to yourself to check out "Largo Winch."

Full Review Source: Movie Metropolis | Original Score: 7/10

April 7, 2012
J. R. Jones
Chicago Reader
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Fortunately for the company, Largo turns out to be a formidable knife fighter in the corporate sense; fortunately for this sleek, empty thriller, he turns out to be a formidable knife fighter in the street sense too.

Full Review Source: Chicago Reader

December 1, 2011
David Noh
Film Journal International

There's so much plot and so many locations in this international finance-steeped thriller that it's one very exhausting but ultimately satisfying rollercoaster.

Full Review Source: Film Journal International

December 1, 2011
Stephen Whitty
Newark Star-Ledger
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It won't make anyone forget Bond, of course. But it will do for now.

Full Review Source: Newark Star-Ledger | Original Score: 3/4

November 19, 2011
Kevin Thomas
Los Angeles Times
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There are plenty of twists and just as many bad guys speaking in a wide variety of accents. It's handsome, large-scale escapist fare - and has as its costar the formidable, versatile Kristin Scott Thomas.

Full Review Source: Los Angeles Times | Original Score: 3/5

November 17, 2011

It's a film that flies through its frantic pace with the greatest of ease, delivering a couple of real surprises along with set pieces that pay sincere homage to Ian Fleming's James Bond books

Full Review Source: JWR | Original Score: 4/5

November 16, 2011
Avi Offer
NYC Movie Guru

An exhilarating, thrilling and thoroughly suspenseful action thriller.

Full Review Source: NYC Movie Guru | Original Score: 8/10

November 15, 2011
Amber Wilkinson
Eye for Film

German star Tomer Sisley brings a winning level of charm to Largo, rising to the physicality of the role and injecting humour, but never letting it slip into pastiche.

Full Review Source: Eye for Film | Original Score: 3/5

August 24, 2010
Jordan Mintzer
Variety
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Euro-financed production throws large chunks of change at a corporate espionage saga spanning several continents, yet most of the money seems to have landed in locations, with too little allocated to the script and stunt departments.

Full Review Source: Variety

July 6, 2010

Miami Herald
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Full Review Source: Miami Herald | Original Score: 1/4

December 9, 2011
Brian Tallerico
HollywoodChicago.com

Far from a complete disaster, but forgettable in nearly every way.

Full Review Source: HollywoodChicago.com | Original Score: 2.5/5.0

November 23, 2011
Roger Ebert
Chicago Sun-Times
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Do you sometimes get the feeling that you haven't seen a film before, but you might as well have? All of the ingredients are basic.

Full Review Source: Chicago Sun-Times | Original Score: 2/4

November 23, 2011
V.A. Musetto
New York Post
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The generic plot is redeemed by exciting action sequences, good-looking location photography and a hot sex scene involving a femme fatale named Lea.

Full Review Source: New York Post | Original Score: 2/4

November 18, 2011
Mick LaSalle
San Francisco Chronicle
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It stars Kristin Scott Thomas, in one of those French roles she usually excels at. But the movie is a mess.

Full Review Source: San Francisco Chronicle | Original Score: 1/4

November 17, 2011
Stephen Holden
New York Times
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About halfway through, the wheeling and dealing becomes so elaborate and the villains so numerous that the only way to enjoy the movie is to let its preposterous story wash over as you sit back and take in the scenery.

Full Review Source: New York Times | Original Score: 2.5/5

November 17, 2011
Nick Schager
Time Out New York
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Heavy on tedious convolutions and depressingly light on character depth, suspense or political-economic intrigue.

Full Review Source: Time Out New York | Original Score: 2/5

November 15, 2011
Nick Pinkerton
Village Voice
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It's impossible to imagine how anything this convoluted could have already earned a sequel, but it has.

Full Review Source: Village Voice

November 15, 2011
Andrew Schenker
Slant Magazine

There's little room for the viewer to get his or her footing, particularly when the assumed point of identification is the relative nonentity of a hero.

Full Review Source: Slant Magazine | Original Score: 1.5/4

November 15, 2011
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