72
Metascore
24 reviews · Provided by Metacritic.com
- 100The New York TimesStephen HoldenThe New York TimesStephen HoldenThe best movie of its kind since the French director Guillaume Canet's hit from 2006, "Tell No One."
- 85MovielineMichelle OrangeMovielineMichelle OrangeTo say too much about what actually happens would be to rob you of the film's risks and narrative ripostes. What should be noted is that Capotondi makes ambitious use of an unreliable narrator in a way that is rarely seen in modern films.
- 80New York Daily NewsJoe NeumaierNew York Daily NewsJoe NeumaierA twisty Italian thriller that takes some liberties with its now-you-see-'em/now-you-don't plot points, but no matter; the way director Giuseppe Capotondi keeps us guessing is deliciously, maliciously deft.
- 67The A.V. ClubNoel MurrayThe A.V. ClubNoel MurrayPretty to look at, making good use of the scenery in and around Turin; if nothing else, the runaway plot keeps the movie unpredictable.
- 63New York PostLou LumenickNew York PostLou LumenickDoesn't always deliver on its twists. But it works well enough that an American remake is in the works.
- 60Boxoffice MagazineTim CogshellBoxoffice MagazineTim CogshellThe twists and turns in The Double Hour are not arbitrary; rather, they are well considered and effective, right down to the last frame.
- 60The Hollywood ReporterNatasha SenjanovicThe Hollywood ReporterNatasha SenjanovicA smart psychological thriller with the one fatal flaw that Slavic women in Italian television and cinema must be dark, tormented characters who hardly ever smile. In a criminal caper with a twist, this actually works against the story.
- 60Time OutDavid FearTime OutDavid FearHere's the thing: We enjoy a good mindf--- lark as much as the next filmgoer, but such fluid tomfoolery eventually has to add up to something, and The Double Hour ultimately doesn't.
- 50Village VoiceNick PinkertonVillage VoiceNick PinkertonThe Double Hour sustains a minimum of attention thanks to the naturally beguiling presence of long-stemmed Rappoport-but what might've a less cautious director done with the material?