Ralph Breaks the Internet
Mission: Impossible - Fallout
Log in with Facebook
Forgot your password?
Don't have an account? Sign up here
and the Terms and Policies,
and to receive email from Rotten Tomatoes and Fandango.
Already have an account? Log in here
Please enter your email address and we will email you a new password.
No consensus yet.
Tomatometer Not Available...
No consensus yet.
All Critics (10)
| Top Critics (2)
| Fresh (2)
| Rotten (8)
"Narcopolis" starts off intriguingly and ends solidly. It's everything else in between that isn't particularly compelling.
There's simply too much going on to establish characters. More upsettingly - being that this is a sci-fi film - it's impossible to tell what the cool parts are supposed to be.
We get strong acting, but it's in the service of what turns out to be a pretty standard police and corruption drama beneath promising sci-fi trappings.
The pacing is drab, the plot incredibly predictable (including all the huge 'twist' moments), and the whole production has an amateurish veneer ...
Narcopolis never rises above mediocre as far as story is concerned, building to a supposedly slam-bang stunner of a finish that's nowhere near as inspired as I think the director intends it to be.
A strong, if not genre-changing, feature debut for actor-turned-writer/director Justin Trefgarne.
It's obvious a lot of care, time and creative passion went into it. It's a relatively low budget project that does a great job pretending it's not. But behind the aesthetics, there isn't much else.
This doesn't come together, but Trefgarne has clearly got talent.
This British sci-fi punches well above its budget visually, it's a shame the drama can't match it.
Despite the surface sheen, and some enterprising plot twists, it doesn't entirely convince.
There's like eight different fantastic premises at work her, not a one of which is executed effectively. Though there was some aspects to enjoy, Narcopolis unfortunately commits the cardinal sin of the entertainment industry: It's boring. Not from start to end, but frequently, particularly in the first two acts.
View All Quotes