Dogman (2018)

Bradshaw finds the film a compelling, harrowing portrait of criminal dependency, delivered with comic flair. He particularly praises its tragicomic scenes and Garrone’s vivid depiction of Marcello’s bond with the dogs.

The critic praises the film as an intensely gripping culmination of Matteo Garrone’s dark themes. She singles out its superb lead performances and evocative cinematography for praise.

The critic finds the crime fable potent and affecting, though parts of its story strain credibility. He singles out Marcello Fonte’s performance and the vivid portrayal of the desolate seaside town for praise.

Johnston’s four-star rating indicates a favorable verdict. He frames the film as a blend of social exposé and modern fable.

The critic calls the film a well-crafted gem. They praise its intimate parable of a downtrodden dog groomer.

Graham views the film as a compassionate, compelling crime story whose descent into ruin feels both authentic and inexorable. He especially praises its compassion for its flawed protagonist and its beauty amid bleak beaches and derelict buildings.

Edelstein finds the film ugly but gripping, and says it haunts the viewer long after it ends. He especially praises Garrone’s portrayal of Marcello’s fragile bond with the frightening Simoncino.

Parkinson finds the film a savagely compelling study of trust, honour and folly, despite doubts about Marcello’s transformation. He singles out the grotesque double act between Marcello Fonte and Edoardo Pesce for praise.

Bleasdale finds the film bleak but ultimately humane, with revenge shown as tragedy rather than triumph. He especially praises Marcello Fonte’s superb performance as a gentle man outmatched by violence and indifference.

Dowd finds Dogman familiar and predictable, though effective in its cold craftsmanship. He especially praises Marcello Fonte’s richly shaded, heartbreaking lead performance.

Lane regards “Dogman” as a handsome return to form for Garrone, though its focus feels narrower than his earlier work. He praises the director’s ability to find beauty and grace amid the decay of Castel Volturno, while faulting the film’s all-white cast.

The accessible page does not reveal the critic’s verdict. Its standfirst identifies the film’s setting as a run-down seaside town in Campania, but offers no specific praise or complaint.

The review finds the film dour and comparatively minor, despite a strong central performance. It praises Marcello Fonte’s work, while faulting the film’s thin character development and tedious metaphor.

The review finds the film’s allegory and structure inert, despite its coherent symbolic thread. It praises the vivid sense of place and grotesque atmosphere, while noting that Marcello Fonte’s compelling performance is underserved by the story.

Gleiberman finds the film’s transformation of a timid man into a figure of vengeance emotionally unconvincing. He praises Marcello Fonte’s performance, but says the story strains too hard to reconcile innocence with violence.

Shaffer gives the film a strong, devastating verdict on its moral allegory. He especially praises Marcello Fonte’s tender, deeply human performance.

The review calls Dogman tense, tragic and brutal, and considers it Garrone on top form. It praises the convincing realism of the performances and the film’s setting, while noting that its allegory can feel heavy-handed.

The critic finds the film compelling, balancing its grim story with gentle humour. The performances by Marcello Fonte and Edoardo Pesce are singled out for their warmth and menace.

The critic finds the film a tight, muscular drama about a good man’s descent into savagery. They praise how the pared-down dialogue lets the physical contrast and tense interactions between the two men carry the story.

Wilkinson finds the film engaging but ultimately unconvincing, with its tragedy feeling predictable. She praises Marcello Fonte’s nuanced performance, while faulting Simone’s one-note characterization and Marcello’s implausible loyalty.