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reviews

72
Based on 14 Reviews
critic reviews (10)
fan reviews ( 0 )
  • 80
    David Rooney The Hollywood Reporter

    While on the surface, this is a variation on boyz-in-the-‘hood dramatic staples, the film is rooted in anglicized Arab culture yet universally accessible in its reflections on identity issues. It’s a very promising debut – slick, muscular, entertaining and emotionally satisfying. show more

  • 70
    Mark Jenkins NPR

    Shot entirely in Hackney — a mostly ungentrified London borough — My Brother the Devil has a strong odor of authenticity. show more

  • 75
    Rex Reed New York Observer

    It’s far superior to what usually comes out of the British slums in the genre of gangland thrillers. show more

  • 63
    Farran Smith Nehme New York Post

    The plot doesn’t entirely escape formula, and the ending is jagged and forced, unable to commit to either hope or gloom. But for at least part of its length, My Brother the Devil brings refreshing changes to a genre badly in need of them. show more

  • 63
    Steve Macfarlane Slant Magazine

    With My Brother the Devil, writer-director Sally El Hosaini tells a story both operatic in its implications and quotidian in its sensory, day-to-day details. show more

  • 80
    Empire

    Already a compelling gangland saga, this vastly promising debut turns into something more surprising when social prejudice becomes the characters’ weapon of choice. If that sounds too much like a lecture, El Hosaini’s voice remains crisp, cool and consistently street-smart. show more

  • 80
    Peter Bradshaw The Guardian

    It's an athletic, loose-limbed piece of movie-making, not perfect, but bursting with energy and adrenaline. show more

  • 80
    Total Film

    What distinguishes My Brother The Devil is El Hosaini’s maturity in avoiding faux-doc grittiness, political grandstanding or flashy glorification in favour of an intimate, closely observed character piece. show more

  • 60
    David Fear Time Out New York

    Even those who aren’t well-versed in the-’hood-always-wins dramas can see what’s coming. So it’s to newcomer Sally El Hosaini’s credit that she embeds a tangible, lived-in sense of the region’s diaspora community and urban criminal underbelly (wagwan, near-indecipherable East End patois!) that’s leagues away from anthropological fetishizing. show more

  • 90
    Jeannette Catsoulis The New York Times

    Nuances of faith, politics and sexual identity enrich what initially presents as a classic good son-bad son tale. show more

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