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Critics Consensus: Melodramatic and overstuffed, Racer and the Jailbird mainly serves as proof that Matthias Schoenaerts and Adèle Exarchopoulos deserve to reunite in a better movie.
Critic Consensus: Melodramatic and overstuffed, Racer and the Jailbird mainly serves as proof that Matthias Schoenaerts and Adèle Exarchopoulos deserve to reunite in a better movie.
All Critics (46) | Top Critics (10) | Fresh (15) | Rotten (31)
Schoenaerts and Exarchopoulos are still good, but the story drags them down.
Gino and Bénédicte devolve from characters who determine their own destiny into ciphers who arouse more pity than sympathy.
Two good characters and two good performances go into the old poubelle - or, as we say in English, the garbage bin.
The work by the two leads is consistently committed, not to mention oozing with old fashioned movie-star charisma.
This is melodrama, after all, but borderline boring melodrama, painting over scenes of potentially high tension with blasé realism.
"You have to stop lying," a father tells his daughter's new lover in "Racer and the Jailbird," and that's exactly what I wanted to say to whoever made the movie's trailer.
Don't be fooled by the title, this isn't a bouncy 70s-style comedy. Tonally it's a mixed bag, and the last act doesn't work. I came out as much bemused as deflated. The performances keep it watchable, along with a big set-piece action scene.
It's a stylish thriller packed with energy and exuberance.
Its spectacular fast-revving plot is suddenly wrenched into a seemingly endless, unfocussed, lower and more serious gear.
It's been a long while since I've seen a film start so promisingly before so spectacularly crashing and burning by the time it crosses the finish line.
Racer and the Jailbird is an unabashedly personal work... Roskam's "everything but the kitchen sink" approach is, more often than not, beautifully melancholic and deeply moving.
What ought to have been a sleek romantic heist movie is soon overcomplicated by a dizzying number of plot developments.
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