Closed Ciruit – VOD

Closed Ciruit – VOD


Closed Circuit.  Rating:  4 (out of 5).  Ex-lovers and lawyers Martin and Claudia are put at risk when they join the defense team for the trial of an international terrorist. The film will be available on VOD starting January 7th.   The Los Angeles Times call the film “a crisply enjoyable, professionally executed paranoid thriller.”

Starring: Eric Bana, Rebecca Hall, Jim Broadbent, Ciarán Hinds, Julia Stiles, Riz Ahmed
Rating:  R
Genre:  Drama, Mystery, Thriller, Crime




Entertainment Weekly gives it a B rating, and further notes, “Closed Circuit has a fairly standard conspiracy plot that is just nimble enough to hook us; it walks the line between sinister and plausible.”

The Philadelphia Inquirer calls it “A relevant thriller that raises the horse hairs.”

USA Today says, “It’s a compelling conspiracy thriller that grabs our attention from the first reel and keeps viewers on edge with its engaging performances and timely story.”

The San Francisco Chronicle describes it as “A gripping dystopian thriller.”

Chicago Tribune notes, “Directed unfussily and well by John Crowley, “Closed Circuit” has enough on the ball in terms of atmosphere and crafty performances to take your mind off the gaps in logic.”

The New York Times writes, ““Closed Circuit,” a slick, tasty slice of late-summer nonsense from Britain, comes soaked in gunmetal blue and paranoia.”

According to Los Angeles Times, “”Closed Circuit” is a crisply enjoyable, professionally executed paranoid thriller of the “everyone is out to get us” variety.”

Variety says the film is “a late-summer counter-programmer for those who prefer brain stimulation to having their eyeballs and eardrums pummeled.”

Miami Herald notes, “Closed Circuit isn’t a waste of time, but it’s hard to remember much about it once you’ve left the theater.”

New York Magazine (Vulture) thinks, “Everything unfolds elegantly, understatedly. The movie is a Grisham in Le Carré clothing.”

The Washington Post writes, “As a feature film, “Closed Circuit” is intriguing, even mildly diverting. That might have been fine for another film at another time, but in light of the here and now, this one should have been more.”

Chicago Sun-Times says, “This is a well-made, topical thriller with a top-notch cast — but the script and the directorial/editing choices undercut nearly every pivotal scene, and every plot twist we can see coming two scenes in advance.”

According to The Village Voice, “Even though Closed Circuit, directed by Irish filmmaker John Crowley, written by Steven Knight, is set in modern-day London and produced by the same people who brought us Tinker Tailor Soldier Spy, it’s curiously lacking in urgency.”

The Boston Globe says, “Instead of all-seeing, it’s more like seen it all before.”

New York Post describes it as “a credulity-straining thriller featuring a few good paranoid moments — and, perhaps most important, Rebecca Hall running in high heels.”

The Hollywood Reporter notes, “The film is handsomely made, with a nice mix of settings, from the Old Bailey to crowded immigrant neighborhoods. A couple of scenes toward the end do generate the suspense that the whole movie needed. But the impact is too muted, and an air of tired familiarity ultimately curdles the entire enterprise.”

NPR calls it “a clunky creature.”

New York Daily News says, “There may have been the making of a juicy, episodes-long BBC series here, but as it is, there’s barely any juice at all.”

The Oregonian thinks, “Clearly intended to possess ripped-from-the-headlines urgency, “Closed Circuit” ultimately feels like a cynical attempt to capitalize on security-state anxieties while examining them in only the shallowest ways.”

According to The Guardian, “It plays as cut-price Le Carré; a recording of a recording of superior films. The picture is fuzzy, and the plot becomes garbled.”

The Arizona Republic thinks, “The end result is as dour and unilluminating as British weather.”

According to The Globe and Mail, “The movie’s lack of a clear identity – is it a thriller, soap, legal drama or action chase movie? – makes it difficult to understand why anyone should care.”

St. Louis Post-Dispatch notes, “Despite its title and a terrorism prelude from the perspective of security cameras, “Closed Circuit” is not a tense thriller about the new era of surveillance — it’s a tepid thriller about the old notion that no leader can be trusted.”

Tampa Bay Times thinks, “Closed Circuit is a shaggy paranoid thriller in which conversations aren’t the shorthand of people who know each other but wordy exposition for those strangers in theater seats.”

Reelviews writes, “The screenplay isn’t airtight – there are a couple of cheats here and there – but it’s a better-than-average example of this sort of movie and the ending doesn’t strain credulity in the service of a justice-conquers-all message.”

A.V. Club gives it a B grade, and further writes, “Closed Circuit may be little more than a high-minded, shrewdly topical gloss on a shopworn genre, but its cynicism is bracing.”

Slate thinks, “The ending is abrupt, and the film as a whole won’t linger in your mind long afterward in the way that superior surveillance-themed films like The Conversation do—but for now, at least, there’s enough real-world government intrigue afoot to give Closed Circuit a scarily resonant kick.”

Total Film writes, “It’s a slow-burning, well-acted thriller that’s only really let down in its third act: an unsatisfyingly limp denouement that fails to convey what’s at stake with any sort of suspense.”

TimeOut New York says, “Viewers will have to be content with an occasionally taut conspiracy movie that’s equal parts hyperintelligent and inane, headline-based pulpy and academically chilly—the equivalent of an overwritten airport novel left on ice.” notes, “The result is a dreary and derivative thriller that is nowhere near as smart or controversial as it clearly believes itself to be.”

IndieWire (The Playlist) notes, “The sloppy reveals of the third act can be seen from miles away, turning this into a low-impact actioner where characters are turned into chess pieces, and the narrative’s aim is to strategically assemble the parts like a play set.”

According to The Dissolve, “It’s a slickly packaged, proficient thriller first, political statement a distant, speck-on-the-horizon second.”

Movie Nation writes, “For all the split screens that play up Britain as a surveillance state, Crowley never really ratchets up the paranoia, and never allows the juice to flow through this closed circuit.”

Empire Online says, “With Eastern Promises and Dirty Pretty Things, screenwriter Steven Knight has proved his ear for London’s darker rhythms. Here, though, there’s little to raise the pulse.”

According to Slant Magazine, “Ultimately, Closed Circuit is a waste of a strong cinematic pedigree.” gives the film a score of 3.0 and further writes, “The whole picture is lifeless and without consequence.”

IndieWire thinks, “Between its ideological vacuity, regrettable dialogue and technical incompetence, “Closed Circuit” prompted unabashed derisive laughter in the normally quiet press screening room: it wants to a be a big-screen heir to BBC series like “Edge Of Darkness,” but it’s more like fan fiction self-parody.”

TimeOut London notes, “How Knight and Crowley managed to persuade such upstanding actors – not to mention Jim Broadbent, Anne-Marie Duff, Ciaran Hinds and Riz Ahmed – to take part in this fiasco is destined to remain a mystery. Tinker, Tailor, Soldier, Trite.”

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