| Concorde Filmverleih | Release Date: November 22, 2019 | CRITIC SCORE DISTRIBUTION | ||
|
Positive:
11
Mixed:
17
Negative:
4
|
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Critic Reviews
As Black Panther, Boseman is a hero in spandex; here he’s a hero with a badge and gun, who looks the devil in the eye, and stares down the evil in the system. It’s a smart way forward for an actor who has suddenly become extremely famous, yet wants to be perceived as more than just a cartoon. He’s got the chops to take us anywhere he wants.
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It’s not a bad setup, and Bridges would be a better movie, easily, if it had let a little more nuance creep into its script. Instead, it lays the task squarely on Boseman’s shoulders — having him fill in all those broad strokes with his own fine lines, and spraying bullets and mayhem across the rest.
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21 Bridges will win no prizes for originality or twists. (It won’t win any prizes for anything, to be honest.) But it’s made well enough. Brothers Joe and Anthony Russo (“Avengers: Endgame”) are the producers, and Irish director Brian Kirk (“Games of Thrones”) knows how to keep an old jalopy like this well-oiled to get us across the finish line.
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IndieWireNov 18, 2019
But let’s be fair: If this were the first cop movie ever made, we’d be grateful for it. It holds interest. It’s never quite boring. And there are worse things you can do with your time than watch Boseman, Miller and Simmons for an hour and a half. Just know that 21 Bridges is the kind of movie you’ll forget five minutes after seeing it.
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On the surface, we get a rough-and-tumble action film from the bygone era that serves up the middle-of-the-road divergences that play into a larger scheme of police corruption. However, the plotting gets tripped up by too many self-imposed obstacles that cause this otherwise breezy romp to feel weighted down by its own design.
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The ever-righteous profile maintained by Boseman’s detective gets to be a bit limiting after a while; if anything was going to have multiple dimensions in this film, it should have been him, but the script is instead built around the goal of providing maximum movement and hoped-for tension. It’s got the former but only sporadically achieves the latter.
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