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Reviews provided by RottenTomatoes
Ruthe Stein, San Francisco Chronicle: Has you in its grip from the beginning. Read more
Richard Roeper, Ebert & Roeper: [I]t is very smart about bank robberies. Read more
Kevin Thomas, Los Angeles Times: An exciting, hard-driving, fast-moving gangster picture and a sharp commentary on apartheid. Read more
Lisa Schwarzbaum, Entertainment Weekly: Directed by Bronwen Hughes ... with striking verve, Stander efficiently conveys the anarchic ironies of the situation. Read more
Chris Vognar, Dallas Morning News: Worth a look, thanks mostly to Mr. Jane's troubled swagger and Ms. Hughes' sharp eye. Read more
Scott Foundas, L.A. Weekly: Seems so conflicted about whether to give us the Stander fact or the Stander legend that the character remains, in spite of Jane's often impressive acting, as enigmatic to us as he did to those entrusted with his capture. Read more
John Anderson, Newsday: It's Jane, breaking out of pretty-boy roles in vacuous movies, who provides Stander its vortex of violent conflict and makes the film both kinetic and socially resonant. Read more
Lisa Rose, Newark Star-Ledger: It is less a character study than an action pageant, cycling through the exploits of its anti-hero with an emphasis on flash and adrenaline. Read more
Jack Mathews, New York Daily News: Maryland native Thomas Jane affects a very convincing South African accent for the title role in this compelling,exploitative true-life drama about a Johannesburg police captain turned bank robber. Read more
Stephen Holden, New York Times: This true story is an unsettling character study of a man self-destructively addicted to flouting authority. Read more
Rick Groen, Globe and Mail: Stander refuses to take a stand on its own subject matter. Read more
Geoff Pevere, Toronto Star: Pumped by a soundtrack of period South African funk and dance music, propelled by whiplash montage sequences and rubber-burning Burt Reynolds-issue getaways, Stander is the very definition of good, old-fashioned outlawry. Read more
Laura Sinagra, Village Voice: Hughes abandons the wealth-redistribution theme, morphing the movie into a mere buddy flick about amoral fugitives on the road. Read more