Reviews provided by RottenTomatoes
Not the disaster described in the British press but unlikely to restore Ritchie's luster.
This 2005 feature offered me my first taste of Guy Ritchie's macho-centric artiness, and I hope it's my last.
It's an irritating, repetitive and pretentious psycho-metaphysical con-job that's ultimately about transcending the ego, and it owes a significant debt to the 1960s The Prisoner TV show -- but isn't nearly in the same artistic league.
The prospect of Ritchie going back to the gangster genre a third time is unappetizing, but it has nothing on his feeble attempt to reinvent it.
Revolver, the latest Guy Ritchie shoot-em-up, is a joke. You laugh with it but mostly at it.
Writer-director Guy Ritchie returns to his Brit-pulp roots, only this time he gets all intellectual, too. It's a deadly combination.
New York Daily News:
Between the manic editing, atrocious acting, and laughably pretentious narration, Ritchie's tired tricks feel like empty distractions in a game of three-card Monte.
New York Post:
Guy Ritchie's greasy little noir Revolver is good grindhouse fun until a last act that's like a meeting of a psychoanalysts' convention.
There are quotations from Machiavelli, brainiac chess stratagems, meditations on the ego and suicide, and some of the clunkiest gangland gab this side of a Martin Scorsese parody.
Revolver turns out to be worse than Swept Away -- and not just by a little bit.
A frothing mad film that thrashes against its very sprocket holes in an attempt to bash its brains out against the projector. It seems designed to punish the audience for buying tickets.
San Francisco Chronicle:
The plot isn't intellectually challenging as much as it is confusing, and yet the big twist is completely telegraphed. Ritchie has created a movie that is patronizingly obvious one minute and impenetrable the next.
The New Republic:
[A]bout as compelling a brief for Kabbalah as Battlefield Earth was for scientology.
Guy Ritchie shoots a blank with Revolver, which replays the low-life criminal shtick from his first two features with an ill-advised overlay of pretension.
As the plot becomes increasingly convoluted -- as if two Ritchie gangster stories have been accidentally fused -- Jake's tortured state becomes ours.