Quite apart from the equally apparent lack of the Coens's extraordinary visual acuity, Cut Bank comes up short because it simply presumes that guilt and evil already live in town, just waiting for us to arrive and see the show.

| Original Score: 2/4 | Apr 10, 2015

Deficient in charisma, Hemsworth lacks both the grit and grin that his complicated role demands.

| Original Score: 1.5/4 | Apr 9, 2015

Like many of its brethren, the movie seems to love itself while hating its characters.

| Original Score: 1/4 | Apr 9, 2015

While there's some undeniably inherent joy in just seeing some of these great actors play off each other, the sum here is a shockingly dull affair, almost made more disappointing by the talent it wastes.

| Original Score: 1.5/4 | Apr 3, 2015

Shakman is clearly going for a dark and bloody Fargo-style crime thriller, but the biggest crime in the film is just how derivative it all feels.

| Original Score: C | Apr 3, 2015

Patino's flights of high-flown language are both tasty and distracting; Dern, in ultra-crusty mode, makes the most of a crucial tirade. If only anything felt at stake in this story's dark spiral.

| Apr 2, 2015

The central problem with "Cut Bank" is a screenplay by Roberto Patino that never achieves comic liftoff despite an abundance of facetious humor.

| Apr 2, 2015

This Bizarro-universe Coen brothers mash-up has the decency to be sporadically fun, even when it isn't especially original or steady.

| Original Score: 3/5 | Apr 1, 2015

Without his usual tics, Malkovich is a wonder, quietly transforming an unassuming town fixture into Cut Bank's conscience.

| Mar 31, 2015

Clever enough to provoke a few abrupt laughs along the way, this big screen debut for two television stalwarts... is sabotaged by some frightfully on-the-nose expository dialogue and an adamantly prosaic visual style.

| Mar 30, 2015

It's difficult to discern if the missteps here were inherent in Roberto Patino's script (which made the 2009 Black List) or arise from less-than-ideal execution of the material.

| Mar 30, 2015

If the film is meant only as a pulpy genre exercise, Matt Shakman's competence in various modes actually works to strip it of any sense of coherent vision.

| Original Score: 2/4 | Mar 30, 2015