The Rhythm Section (2020)

Erbland finds the thriller gritty and compelling, though its plot grows needlessly complicated and some relationships feel improbable. She especially praises Blake Lively’s physical, nuanced performance and the film’s bruising fight scenes.

Debruge finds the familiar revenge-thriller plot worthwhile because the film feels unexpectedly human. He praises Blake Lively’s committed performance and Stephanie’s believable ineptitude as an action hero.

Bradshaw finds the film a serviceable thriller that works well enough despite a shaky opening. He singles out the watchable rapport between Blake Lively and Jude Law, alongside the well-assembled fights, stunts and car chases.

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The review finds the thriller’s action generic but Blake Lively’s performance refreshingly clumsy. It singles out her distinctive take on a vengeance-driven spy as the film’s bright spot.

Walsh finds the film an uneven but refreshing entry in the action-spy genre. She praises its grounded portrayal of Stephanie as an inexperienced, human would-be assassin, while faulting the thin storytelling.

The review finds the film shallow and poorly connected, with an ending that fizzles. It praises the physicality of the action, especially a one-take car chase.

Dyer finds the thriller disappointingly lightweight and too simplistic to make its story of identity and revenge land. He praises Blake Lively’s steely yet vulnerable performance, while criticizing the action direction for draining excitement.

Halligan describes the adaptation as underwhelming. The available text identifies Blake Lively’s prostitute-assassin role but offers no further specific criticism.

The critic finds the film a self-serious bore with hollow characters and absurd plotting. He singles out its disastrous attempts at spycraft and pseudo-feminist empowerment as especially ineffective.

Vishnevetsky finds the thriller overcooked and short on fun, basic thrills, or coherent visual storytelling. He singles out Jude Law as the one cast member who seems to enjoy himself, while criticizing the film’s showy cinematography and gimmickry.

Scheck finds the thriller unintentionally comic and weighed down by a strained, overly solemn tone. He praises Blake Lively’s grit and performance, but says the convoluted plot and constant changes make the story difficult to follow.

The review pans the film as witless, soulless, and dramatically thudding. It faults the flimsy plot and says Blake Lively is left with little to do beyond wigs and stunts.

Kozak calls the film a smart, insightful genre exercise, though its familiar plot twists are easy to anticipate. He singles out Morano’s visually imaginative direction and a gripping car chase for praise.

Sandwell finds the thriller imperfect but promising, with its grounded approach delivering consistent thrills after a slow, familiar start. He particularly praises the tense first-person car chase and Blake Lively’s compelling performance.

Kaye finds the film admirable but not fully enjoyable, citing its muddled story and uneven execution. He praises its gritty realism and focus on Stephanie’s vulnerability, especially in the action scenes.

The critic finds the film weighed down by familiar clichés, though it has occasional inventive moments. They praise the tense cinematography and singled-out visual choices, while concluding the story ultimately feels like a tune heard before.

The critic finds the film a well-paced but unoriginal spy thriller that fails to create a compelling new female hero. They praise its smart design but fault its shallow character development and oppressive score.

The critic finds the film incoherent and ultimately unsuccessful. She praises the claustrophobic, anxiety-inducing fight scenes but faults the thin characterization and inconsistent story.

The critic finds the film an empty, muddled revenge thriller that fails to make its protagonist’s grief or motivation convincing. A chaotic Tangier car chase briefly delivers the energy and intensity missing elsewhere.