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Critics Consensus: No consensus yet.
Critic Consensus: No consensus yet.
All Critics (22) | Top Critics (13) | Fresh (8) | Rotten (14)
Despite being rife with crime, sex and darkness, Manhattan Night feels increasingly like a cheap ripoff of the genre it so very much wants to fit into.
Director DeCubellis is frightfully beholden to the tropes of the genre, and the premise (involving blackmail, strange dares and an inexplicable horse story) is just not credible.
The thrilling twists and turns of Harrison's plot are here, but DeCubellis's hazy pacing drains the film of the book's zest. Though great material mishandled is frustrating to view, there are nonetheless some bright spots.
It's pretty frustrating to watch a close-but-no-cigar movie like this.
It's not a great movie but a welcome one, if only for how it attempts to revive a whole genre.
What sounds so delicious in the telling is pallid and ludicrous onscreen.
It's probably not something worth rushing out to cinemas for, but it's great afternoon viewing with a pack of smokes and a glass of scotch at the ready.
The payoff surprises by extending sympathy in unexpected directions. Besides, the stars really do look the part, with Brody making a convincingly dogged sleuth, while Strahovski is every inch the dangerously seductive siren.
A mystery film that involves videotapes, blackmail, seduction games and assassinations. In his ambition to create a noir film, director Brian DeCubellis fails in his attempt and only offers an incoherent story. [Full review in Spanish]
DeCubellis never manages to captivate the viewer and doesn't have the necessary dramatic tensions. [Full review in Spanish]
Manhattan Night isn't a great example of the genre, but it's the best you'll get this side of 1959.
The best noir films are as dry as their heroes; the self-consciousness of Manhattan Night makes it awfully hard to appreciate the things it does well.
Adrian Brody is not a private detective exactly, but rather he's a investigative reporter. And he's not single and hardboiled, he's a family man if a little cynical. Notwithstanding the story is basically the same: a beautiful woman in danger with a mystery to solve and "can you help me" eyes, and legs, a mysterious but thoroughly dangerous rich guy with something to hide (Is there any other kind?), and finally, most of all, the dead body of a complete asshole everybody but everybody wants dead. Voila, it's the revenge of film noir, or the son, or film noir for millenials. Whatever the case, despite it's steadfast dedication to the form, this baby lacks the heart-dragged-through-the-gutter. Nice try though.
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