Let Him Go (2020)

Gleiberman finds the film an original, gripping thriller that turns into a touching story of romance and sacrifice. He especially praises Lane and Costner’s performances and the suspenseful, emotionally honest treatment of heroism.

Ebiri finds the film a surprisingly affecting, patient Western romance that stays with the viewer. He especially praises Lesley Manville’s magnetic, larger-than-life performance as the Weboy family matriarch.

Winning praises the film as an arresting western and welcomes the reunion of Diane Lane and Kevin Costner. He singles out their pairing as a particular joy.

Lee finds the shift from a restrained neo-western to a violent B-movie entertaining, though the mayhem arrives too late. He especially praises Lesley Manville’s electric, fierce performance as the villainous Blanche.

The review regards the film as a solid, old-fashioned thriller. It singles out the performances of Diane Lane and Kevin Costner.

The review finds the film tender and tense, with restrained momentum before a bombastic third act. It particularly praises the easy familiarity and exchanges between Diane Lane and Kevin Costner.

Hassenger finds the film a skillfully made, affecting mix of restrained family melodrama and pulp, though its sentiment can feel flavorless. He praises Diane Lane for making the separation scene genuinely moving.

Walsh finds the film an engaging but somewhat ephemeral melodrama, with a hopeful undercurrent. She particularly praises Diane Lane’s performance, which she says is the element that lingers.

The review finds the melodrama familiar but tense and atmospheric, ultimately holding the attention. It praises the windswept landscape and effective tension, while criticizing the one-dimensional supporting characters.

Lane finds the film low-key and cleanly told, with Diane Lane’s performance providing its strongest force. He also praises Lesley Manville’s imposing turn, though he argues the finale gives the decisive moment to the wrong character.

The review presents the film as a twilight-years Western aimed at older audiences. The review text is paywalled, so its verdict and specific praise or complaint are unavailable.

The critic finds it an entertaining, traditionally told slow-burn western elevated by an invested cast. They single out Diane Lane’s performance and the dignity the film gives its mature protagonists.

Ehrlich finds the film an uneven, slackly paced attempt to blend a revenge thriller with a mythic Western. He praises Lesley Manville’s performance and the perspective offered by the young Native American character.

Freer finds the film slow and tonally uneven, with an unconvincing shift into violent thriller territory. He singles out Lesley Manville’s performance as a memorable, energetic crime boss.

The critic finds the film heartfelt and handsomely made but ultimately unconvincing, as it shifts from grounded family drama into implausible genre territory. He praises Diane Lane and Kevin Costner’s involving performances and the couple’s quietly conveyed bond.

Rubins finds the film a hammy melodrama that loses emotional and character depth as it escalates. He praises Diane Lane’s searing performance, especially in the film’s quieter moments.

Sneider calls it a well-crafted, emotionally sensitive thriller, though its leisurely pace and missing perspective from Lorna weaken its impact. He especially praises Kevin Costner’s restrained performance and the quiet, convincing rapport between the leads.

The critic finds the film a tense, skillfully balanced genre piece. They praise Lane and Costner’s performances and their expressive, largely wordless rapport.

The critic finds the film absorbing and unusually refreshing, with a conventional final act that slightly disappoints. Diane Lane’s performance is singled out as the film’s anchor.

The critic finds the film modest but entertaining, with enough charm to make it worth seeing on the big screen. Diane Lane’s forceful performance and Kevin Costner’s gruff screen presence are singled out as pleasures, though the story gives Lorna too little perspective.

The URL identifies this as a review of the specified film, but the page provides no access to the critic’s verdict. No praise or complaint can be established from the available content.