Sleepless.  Rating:  2 (out of 5).  An undercover Las Vegas police officer, Vincent Downs, finds himself in the middle of a battle between corrupt cops and mob-controlled casino underground. When a heist goes wrong, a group of homicidal gangsters abducts Downs’ teenage son. He has one night to rescue his son, evade internal affairs investigators, and bring the kidnappers to justice. The film will premiere on VOD on Tuesday, April 18. The Hollywood Reporter says, “The action is relentless, and the results monotonous.”

Starring: Dermot Mulroney, Gabrielle Union, Jamie Foxx, Michelle Monaghan, Scoot McNairy
Director: Baran bo Odar
Rating: R
Genre: Action, Thriller, Crime



According to The New York Times, “Sleepless, directed by Baran bo Odar, sets a low bar for itself, and then trips over it.”

Los Angeles Times says, “Another long night awaits Foxx’s character in “Sleepless,” and though he goes through the knife-waving, pistol-whipping motions with committed intensity, the role is too blandly conceived for him to find any fresh edges or hit any deeper notes. The pleasure of seeing him back on-screen is reason enough, perhaps, for this sleek, superficial movie to exist; now he just needs the kind of material that will jolt him and his audience awake.”

Variety finds, “Sleepless is a propulsive thin exercise, “energetic” but tedious, the kind of January movie that Jamie Foxx should have permanently graduated from. Foxx is too good an actor — taut and committed — to phone in his performance, yet that hardly matters, since the whole movie is phoned in. It’s far from incompetent, but it’s a who-cares? thriller.”

The Hollywood Reporter thinks, “The action is relentless, and the results monotonous.”

Village Voice writes, “Monaghan and Foxx, for all their gifts, can’t transcend the material, though they do get more out of it than most others would be able to.”

Austin Chronicle notes, “Sleepless is a passable thriller, but it won’t keep you up for nights.”

Cairo360 finds, “Filled with dirty-cop clichés and an overwhelming dose of creative laziness, the end-result ultimately reduces the movie’s potential of turning into something a lot bolder, grittier and darker.”

Sacramento News & Review says, “If such twice-and-thrice-removed movies are your cup of hemlock, you’ll find no surprises to rattle your expectations.”

The Straits Times observes, “It has been more than two years since Oscar-winning actor Foxx’s last film, the family-friendly musical Annie (2014). Too bad his return to the big screen is this snoozefest that left out the thrill from crime thriller.”

Las Vegas Weekly gives the movie 2 out of 5 stars, and further notes, “The movie goes through the motions efficiently, at least, coming in around 90 minutes and pacing its betrayals and beatdowns at regular intervals. It ends with a cliffhanger setting up a sequel, but that’s a wildly optimistic move on the part of the filmmakers. Both Las Vegas and the movie’s overqualified cast deserve better.”

NOW Toronto thinks, “Swiss director Baran bo Odar (Who Am I) keeps the pace taut and lets his actors play; Foxx sticks to sweaty desperation and brute force, while Scoot McNairy is pleasantly unpredictable as a gangster and Michelle Monaghan and Stranger Things’s David Harbour have a surprising amount of fun as Internal Affairs agents with a nicely flinty relationship.”

San Diego Reader writes, “Michelle Monaghan deserves better than a quintessential internal affairs officer, but audiences looking for unintentional laughs will strike gold.”

Indiewire says, “If Sleepless feels like the microwaved leftovers of a dish that was designed to be swallowed whole, Foxx is the frozen part in the middle, the bite that makes you regret that someone tried to heat this up in the first place.”

Movie Nation finds, “It’s altogether ridiculous, made all the sadder because we’ve seen this ridiculousness before.”

A.V. Club gives the movie a B- rating, and further notes, “A beat-for-beat remake of a relatively diverting French thriller called Sleepless Night, the film shifts the action from a nightclub in the Paris suburbs to a hotel casino off the Vegas strip and ramps up the sadism, but otherwise follows the same breathless, potentially nihilistic narrative.”

The Film Stage thinks, “Sleepless isn’t intellectually offensive or even all that embarrassing for the talent involved. Beat by beat, right down to its twists, it’s a predictable January thriller.”

TheWrap observes, “The existence of a movie like Sleepless constitutes definite proof that there aren’t enough good scripts to go around; Foxx, Monaghan, Mulroney and Union (who finally gets introduced into the action in the silliest way possible) deserve much better than this.” gives the film 2 stars, and further writes, ““Sleepless” is one of those movies that needed to be a lot better or a lot worse to make much of an impression.”

We Got This Covered says, “Odar does his best to manipulate Las Vegas’ seedy underbelly (City of Sin, after all), but so much of Sleepless feels like recycled, seen-it-before action genre gristle. The stuff you chew while hoping a little fatty goodness is left.”

Reel Film Reviews gives the movie 2.5 out of 4 stars, and further notes, “Although the film hits a lull in the buildup to its third act (ie the wheel-spinning is palpable), Sleepless concludes with a stirring, surprising climax that effectively cements its place as an uneven yet entertaining contemporary actioner (albeit one that’s right in line with its equally erratic predecessor).”

Film Inquiry writes, “Sleepless is a thriller that occasionally seems passable and avoids some clichés, but still doesn’t quite achieve the level it could have.”

Common Sense Media gives the film 3 out of 5 stars, and further notes, “Overall, Sleepless isn’t particularly memorable, but it’s not bad, either.”

Pajiba says, “Without Sleepless Night, Sleepless would be just mediocre, rehashing a sharp storyline in a tawdry setting with lazy archetypes and a cast that deserves better than the vapid execution and B-movie dialogue offers. Because of the greatness of Sleepless Night, I know just how truly terrible, shallow, and stupid this remake is, because the filmmakers were handed a winning recipe and somehow made this.”

The Young Folks finds, “Sleepless is the epitome of Cop Movie 101 filmmaking, and it shamelessly cruises on autopilot from beginning to end.” thinks, “There’s much craziness in this film, there’s no time to think about the hows, whens, and whys. Considering how the original film was well-received, this feels as if the only effort put was the casting.”

Den of Geek! observes, “A couple of cool fight sequences don’t do much to help this lame remake live up to the original Sleepless.”


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