The Mexican (2001)

The critic views the film as an eclectic, anything-goes shaggy-dog story with charm in its split structure and quirky elements. Gandolfini is highlighted as the best asset for his human and vulnerable portrayal of the hit man.

The critic praises the film's focus on the quirky relationship between Samantha and the hit man Leroy rather than the Pitt-Roberts pairing, finding it special and witty. He singles out the psychobabble dialogues and Gandolfini's character for bringing depth and surprises.

The review describes the film as a slight but enjoyable whimsical shaggy-dog story with more star power than substance, ricocheting between goofy violence and endearing moments. It singles out Gandolfini's touching and genuine supporting turn as the most authentic element.

This hokey-jokey comic thriller doesn't add up to much but remains an engaging curio. The parallel storylines buzz with smart zigzags and tangy dialogue, though extraneous flashbacks mire the plot somewhat.

The film is uneven and often slack when focused on Pitt's character, but improves significantly with the arrival of Gandolfini, whose rapport with Roberts provides the film's strongest and most emotionally resonant moments.

The review finds the film only half as funny as it should be but notes it avoids being too churlish given the surrounding comic environment. It highlights James Gandolfini's portrayal of the weepy hit man Leroy as the casting coup.

The review notes the film's misdirection and desire to be hip and offbeat but concludes it cannot pull it off despite the stars' efforts. It praises the best performance coming from a supporting player rather than the leads.

The critic finds the film a patchy genre piece that fails to live up to its ambitions as a star vehicle. Gandolfini is singled out for praise as the standout performer who brings natural drama to his scenes.

The critic finds the film an implausible comedy-thriller that fails due to poor chemistry between Pitt and Roberts and weak performances. He singles out the mishandled subplot involving Gandolfini's character as particularly disappointing.

The critic calls the romantic comedy a dud with Pitt and Roberts not meshing, criticizing the film's hapless veering between facetiousness and solemnity. Pitt's jittery performance is singled out as uncentered and indulgent to watch.

The critic argues that despite its initial negative reviews, The Mexican is an unusual, subversive arthouse film rather than a standard thriller, deserving a cult reappraisal for its quirky humor, profound moments, and western influences.

The critic finds the central couple's chemistry unconvincing and the film tonally uneven, with Pitt and Roberts failing to generate sparks while Gandolfini steals scenes. Verbinski treats the caper as a light romp but lacks the skill of Jonathan Demme in the genre.