55
Metascore
19 reviews · Provided by Metacritic.com
- 90The New York TimesGlenn KennyThe New York TimesGlenn KennyWith its galloping pace and strange criminal bedfellows, this funny and engrossing film sometimes feels like the droll capers of the Ealing studio (maker of “The Lavender Hill Mob” among other small classics). But Arcand packs in a lot of pointed social and political commentary.
- 70Screen DailyAllan HunterScreen DailyAllan HunterRather than attack his subject with bristling anger, Arcand approaches it with world-weary wit and the kind of warming optimism that might not appear out of place in a Frank Capra classic. The result is a little old-fashioned but also surprisingly endearing and feels like some of his best work in a while.
- 70VarietyJoe LeydonVarietyJoe LeydonArcand tries a little too hard at the very end to demonstrate his deep-down earnestness. But never mind: The performances across the board are everything they need to be, and the satirical thrusts are well aimed at the right targets.
- 70The New YorkerAnthony LaneThe New YorkerAnthony LaneThe film grows into a caustic comedy, rife with fidgety questions.
- 67IndieWireDavid EhrlichIndieWireDavid EhrlichIf Arcand’s worldview hasn’t changed, his angle continues to grow more acute. Where The Decline of the American Empire focused on social ills, and “The Barbarian Invasions” was preoccupied with ideology, The Fall of the American Empire finds the 77-year-old Canadian legend turning his attention to the greatest moral catastrophe of our time: money.
- 67The A.V. ClubMike D'AngeloThe A.V. ClubMike D'AngeloEventually, both characters and narrative start to feel like an elaborate pretext for what’s really, at heart, a documentary about the various ways that wealthy corporations avoid paying taxes, combined with an earnest public-service message about helping the homeless. Those are admirable goals, but springing them on viewers via an entertaining bait-and-switch risks inspiring disappointment, or even provoking resentment.
- 63The Globe and Mail (Toronto)Kate TaylorThe Globe and Mail (Toronto)Kate TaylorThe core trio are smooth and amusing in their roles, but the larger plot is filled with painful stereotypes, from a tough female cop to various black gangsters. Meanwhile, as the sympathetic criminals try to outwit police, the social theme remains unfocused – despite heartfelt pleas for street people, especially the homeless Inuit of Montreal.
- 63Slant MagazineChuck BowenSlant MagazineChuck BowenDespite a few undeniably intense and lurid moments, the film lacks the pulsating fury of a significant genre work.
- 60The Hollywood ReporterJohn DeForeThe Hollywood ReporterJohn DeForeFall is Pretty Woman for socialists, a Capital-conscious fairy tale in which a nice guy not only attempts a perfect crime but wins the heart of a prostitute hitherto moved only by American dollars.
- 50Wall Street JournalJoe MorgensternWall Street JournalJoe MorgensternThe problem lies with the central role. The character may be comic, as conceived, but Mr. Landry’s performance is flat. Pierre-Paul is certainly likable in his earnestness, amusing in his confusion and touching in his innocence. Yet he isn’t very funny — there’s no sparkle, no buoyancy, no surprise — and the blame doesn’t lie only with the actor, given the underlying earnestness of the writing and direction.