The Sisters Brothers (2018)

The critic finds it a terrific, funny, unpredictable Western that deftly undercuts the genre’s conventions. They especially praise John C. Reilly and Joaquin Phoenix’s pugnacious, charming performances and interplay.

Chang finds the film soulful and affecting, blending a comic western with a tender story of brotherhood and unexpected connection. He especially praises the lakeside sequence, where the four men briefly bond and the film nearly breaks the viewer’s heart.

O'Sullivan finds the western erudite, visceral, and chuckle-worthy, with a mysterious shift in focus that makes it feel distinctive. She especially praises Riz Ahmed and Jake Gyllenhaal, singling out their intense chemistry and Ahmed's striking performance.

The review finds the film a bittersweet, entertaining tale elevated by its warmth and comic pathos. It praises the chemistry and performances of John C. Reilly and Joaquin Phoenix, while wishing Jake Gyllenhaal and Riz Ahmed had more screen time.

Simmonds finds Audiard’s adaptation a rugged, searing take on the Western. She praises its authenticity and the flashes of humanity that puncture its brutality.

Kiang finds the film a mournfully comic western that builds to a moving, compassionate conclusion. She especially praises its tender humor and the brothers’ gradual emotional development.

Bradshaw finds the film an enjoyable, funny and subtly affecting Western. He especially praises the brothers’ performances and Audiard’s easy-flowing, unsentimental storytelling.

Lane finds the film moving and compelling, especially as it turns away from the Western’s expected cycle of violence. He singles out its character transformations and its affecting conclusion.

The review finds the western wry, surprising, and heartfelt. It praises the odd-couple chemistry between Joaquin Phoenix and John C. Reilly.

Dowd finds the film an enjoyable, minor-key Western whose pleasures come from its characters more than its action. He praises Reilly and Phoenix’s believable, affectionate portrayal of the brothers’ bickering bond.

The review regards the film as a gentle, darkly comic western with a compassionate, Edenic vision, though one tinged with sadness. It praises the film’s humane treatment of hard men and the understated affection between Warm and Morris.

McCarthy finds the film a pleasing, lovingly crafted Western, though its momentum is moderate. He particularly praises John C. Reilly’s boisterous lead performance and the film’s richly detailed production design.

The available page text does not reveal the critic’s verdict. Its standfirst frames the film as Jacques Audiard’s Western, but gives no specific praise or complaint.

The page does not reveal the critic’s verdict. Its praise or complaints cannot be determined from the available content.

The visible page identifies this as a Venice review, but the reviewer's verdict is hidden behind a paywall. No praise or complaint from the review body is visible.

The URL identifies a review of the 2018 film, but the page content is unavailable. The critic’s verdict and specific praise or complaint cannot be verified.

Gleiberman finds the film witty and watchable but ultimately wearying, familiar, and plodding. He praises John C. Reilly’s straight-shooter performance while criticizing its reheated take on male obsessions.

Yoshida finds the film intermittently fresh but ultimately too familiar and underdeveloped. She praises the quiet, affectionate bond between Ahmed and Gyllenhaal’s characters, while faulting the brothers’ story and an unearned ending.

The critic calls the film one of the year’s best, praising its fresh, ambitious take on the Western. Reilly is singled out for making Eli achingly human and unforgettable.

The critic finds the film a gorgeous, surreal, and uniquely balanced Western. They single out its painterly cinematography and Eli’s tender care for his dying horse for praise.

Chitwood finds the film a fascinating, poetic, and funny Western, though its languid pace may test some viewers. He especially praises John C. Reilly’s sensitive, heartbreaking performance as the story’s emotional center.

Kaye praises the film as an unusual, humane Western that blends buddy comedy with character drama. He singles out John C. Reilly and Joaquin Phoenix’s performances and the film’s exploration of the brothers’ bond.

McIndoe finds the film brutal and nihilistic yet also beautiful, sweet and funny. He especially praises how Audiard holds the grandeur of the Western landscape against the greed and ugliness of its inhabitants.

Sinacola finds the film’s anti-Western approach thoughtful and refreshing, though its traditional resolution weakens its offer of escape from violence. He praises the performances and Benoit Debie’s vivid, neon-tinged frontier cinematography.

The critic finds the film a touching, unconventional western despite its occasionally rambling pace. They especially praise the chemistry among the four central actors, which gives the final act momentum.

The critic finds the film intriguing but ultimately underwhelming, as its playful tone clashes with its graphic violence and familiar story. John C. Reilly’s performance is singled out for its range and emotional depth.

Kermode finds the film rambling and less gripping than it should be, despite its capable cast. She particularly praises John C. Reilly’s performance and the melancholy final stretch.