the well-balanced sequence is equally affecting and stylish; from this moment on, the film moves into faultlessly constructed but too familiar territory
the action builds to a truly ridiculous compromise that should have been thrown out at the script development stage. This is not Kruger's finest hour. Nor Akin's either
it's a solid stab at the socially conscious mainstream flick for Akin, especially after he faltered somewhat with his last political film, the remarkably ambitious but ultimately ill-judged Armenian genocide picture The Cut
by Peter Bradshaw [The Guardian ]
