Chevalier Reviews

April 5, 2019
Tsangari seems less interested in satire than in digressive dawdling, and while she probably achieved exactly the sterile tone that she wanted, a lot of Chevalier plays like Kubrick on horse tranquilizers, empty and benumbed.
March 29, 2019
Athina Rachel Tsangari's Chevalier is a timely arrival as it zeroes in on the minutiae that constructs the modern male identity.
January 3, 2017
One is stuck with these unlikeable characters for 105 minutes, while they do very little to shock, to make the viewer laugh or to truly engage.
November 17, 2016
Once the film gets to its main point, it seems not to know what else to do with it other than to reiterate the same thing over and over again. [Full review in Spanish]
July 24, 2016
The film really doesn't have much more to say on the subject of male one-upmanship. Or much else, for that matter.
July 24, 2016
The concept is strong, the acting fine, and in parts the film is funny and likeable. I like the notion of middle-aged men behaving like little boys in a playground. But the dialogue is all wrong.
July 24, 2016
It is a great premise with some mirthful moments but slight and lacking the depth or insight you might hope for.
July 21, 2016
The performances are focused and controlled, but, like the yacht itself, the film is going nowhere, dramatically and conceptually.
July 20, 2016
The movie proceeds, seeming to promise one hell of an explosive climax after all the simmering tensions we have witnessed, but it just peters out ineffectually stead. Still, Chevalier is mildly diverting.
July 18, 2016
Watching these men engage in one foolish game after another is at first mildly amusing then quickly dull ...
May 30, 2016
The story congeals in the rigid and narrow script, and Tsangari films it with a generic impersonality.
May 22, 2016
Athina Rachel Tsangari's obvious skill can't hide the fact that her concept is one-note.
March 15, 2016
Less like a drama than a statement, Chevalier's characters do not grow but diminish.
February 20, 2016
The kind of one-note, overly conceptual art film that says all it has to say within its first five minutes, but attempts to bury it with broad jabs at easy targets.