The New York Times not only published Javier's comments, but also published the reviews of veteran film critic Joshua Roscoff.

"This is perhaps the most exciting rival movie since the Stealing Fire. Almost the entire movie is run through Cruise and Strello, and the interaction between the two people bursts out with incredible chemistry.

Cruise plays a cold killer, indifferent, cruel, bloody, wise, decisive and transcendent, as if he was a character formed after all the negative emotions in society gathered together. However, as the story progressed, we felt the character rifted little by little, and then struggled, broke out, and confronted until it fell into silence.

Cruise not only plays the role of this character, but the most commendable thing is that he fully demonstrates the changes in the character's emotions. One look, one action, and one line can feel the depth of the character. The desire to speak is still a bit but the afterglow is profound, allowing the audience to involuntarily follow the changes in the character during the viewing process. However, after the end of the movie, he couldn't help but fall into deep reflection: Is this killer a demon? But who created this demon? He chose it himself, created it by society, or caused by human nature.

In the last scene of the movie, Cruise's tense shoulder lines slowly relaxed, and the calm eyes could clearly see the liberation emotions gradually dissipated. All kinds of mixed emotions were dyed gray due to the fatigue of the past, and finally settled down in relief. The depth and delicacy that burst out in an instant sublimated the core idea of ​​the whole movie.

We have seen Cruise's wonderful performances, such as born on July 4th, like Magnolia, but Cruise is always Cruise. He carries the idol baggage of a righteous image and brings a layer of shining brilliance, artificial and rigid, and is limited to a formal framework. Even if it is a breakthrough, it seems that it is a breakthrough for the sake of breakthrough, but the layer of window paper has never been pierced.

But this time it was different. Cruise, who appeared on the screen, not only dyed white hair, but also completed the transformation from the depths of his soul. Suddenly, we will forget that this person is Tom Cruise, and even forget that this person is an actor, he is just a professional killer wandering in the darkness of the city.

Not only is this the best performance of Cruise's career, it's even arguably one of the most commendable performances on the big screen this year.

Corresponding to Cruise's twenty-year career as an actor, this is Strello's first big-screen work, and his performance reminds me of Edward Norton's appearance in the first-level fear performance. It was the first work of his career. It was full of spirituality and explosiveness but without losing the touch of the character. The precise and in-depth expression details made the character stand out.

Strallo plays a taxi driver, a mediocre driver, and he can hardly find any characteristics in him. Even if it is clean obsessive-compulsive disorder, the length of the movie is very limited, let alone support for the character. This is an extremely ordinary character who seems to be a stranger who can be seen in real life by just grabbing it. But it is precisely such an ordinary person. After watching the movie, a clear image can emerge in our minds: we hold dreams but keep our feet on our way; we have a full sense of justice, but we are timid and afraid of things; we are smart and wise, but lack courage; we attach importance to friendship but ignore ourselves.

This is the power of performance

It is hard to imagine that Strello is a new actor. In the whole movie, he is free to retract, restrained and deep, and the right performance outlines the role in a quiet manner. The eyes hidden behind the glasses vividly display the emotions that are not touched by the language. It seems that just a still picture is needed, and the story continues to enter the audience's mind.

What is even more incredible is that we easily overlooked Strallo's outstanding appearance and unswervingly believed that this is the taxi driver that will appear in our lives.

Looking at Strello's resume, we have seen the sharpness and courage he showed in the City of God, and we have also seen the momentum and control he showed the day after tomorrow. But as a director, even as a director, killing people with a knife is just his third work, let alone as an actor. But this genius made a brilliant debut in a stunning way and amazed everyone.

The work of killing people with a knife is the stage of Cruise and Strello. From suppression to balance to counter-suppression, from chess to conversation to confrontation, every scene is jaw-dropping. Suddenly, it reminds me of the confrontation between Al Pacino and Robert De Niro in the Stealing Fire.

Sacrifice to Cruise and cheer for Strello.

Wonderful and wonderful”

Joshua's film review not only gave the highest score of 95 points, but also gave the two actors unparalleled praise, which can be clearly felt his love for the movie.

As the most influential newspaper in the United States, the New York Times established the praise tone of "killing with a knife" with two comments by Joshua and Javier, while in comparison, they did not write the film review of "Twelve Arhats". The Wall Street Journal, which has a strong influence in the United States after the New York Times, also responded with a 90-minute mark, and undoubtedly pushed the powerful influence of this work on the East Coast to its peak.

In fact, even across the United States, "killing with a knife" is enjoying a frenzy of zero negative reviews.

Among the West Coast media, the Seattle Post commented that "has similar to the hitchhikers in 1996, but the depth of the connotation is slightly less than that." 60.

"Movie Threat", "Cruise and Strello's performances are indeed eye-catching, and supporting roles such as Fassbender, Ruffalo, Baden, and Beckinsale also have good performances; but overall, Strello, as a director, seems to be satisfied with showing off his skills, fast racing, cool streets, psychedelic lights, sharp editing, and seemingly in-depth but unspeakable themes. This is like a video game belonging to Strello." Sixty-three points.

"Austin Chronicle", "If you attribute all the problems to psychology to the essence of the movie, then Vincent is too entangled and too ink, essentially, not a real tough guy. This also reflects the lack of violent bursts in the entire movie." Sixty.

These comments are like "Vanity Fair", proclaiming that they are neutral comments rather than negative comments, and correspondingly they are praise from the East Coast media.

"New York Post", "Straello showed superb skills, excellent control and profound humanities in the movie, full of passion and connotation. A masterpiece that showed mature and confident in the role, script, story, light, camera, and editing. Neither a man nor a woman could refuse such a beautiful and romantic work." Ninety.

"Chicago Tribune", "In the past decade, no crime movie can reach such a height, even the Seven Deadly Sins. Strello has injected incredible energy into killing with a knife, from scripts to photography, from roles to performances, worthy of repeated savoring." Ninety.

"The Washington Post", "the best example of the thriller crime-type movie: following the framework, but breaking tradition, while taking into account familiarity and freshness, finding the perfect balance between entertainment and art." Ninety.

"Entertainment Weekly", "Incredible casting, Cruise devoted his career best performance, confident and restrained, meticulous and ostentatious; but it was Strero who brought the most surprising, surprising and shocking debut performance of the year." Eighty-three points.

"New Yorker", "Lancelot Strello tells a midnight thriller story that takes place in Los Angeles, but brings the audience into an isolated and blurred space, detached from reality but not completely breaking away, thrilling and charming; but overall, it does not look like a traditional thriller crime movie, because its profound connotation reflects reality and explores more possibilities." Eighty-Ten.

"Variety Show", "between the camera, between the scenes, between the characters, Strello, the director who directed the City of God and the acquired, showed amazing control, boldly and innovatively broke the shackles of tradition, and also gave the film an incredible profound connotation. Every minute should not be missed, and every shot is worth remembering. He may be the best director in Hollywood at present" 85 points.

Praise, praise, or praise

Almost all media have pushed "killing with a knife" to a new peak with indescribable praise. The excellent performance of zero negative reviews has won unanimous recognition from the entire industry. This situation has far exceeded the praise brought by "City of God" to Reims, which is something that no one expected. In addition to several important comprehensive media such as the "New York Times", "Wall Street Journal", "Los Angeles Times", and "San Francisco Chronicle", it is worth noting that the evaluation of the professional media in the Hollywood industry, "Hollywood Reporter" and "Variety Show" also coincides with the overall momentum.

The "Hollywood Reporter" gave the "Twelve Arhats" seventy-five points and the "killing people with a knife" seventy-four points in the "variety show" respectively, and the scores of the two works were thirty-three points and 85 points respectively, and the "Twelve Arhats" were in front of "killing people with a knife" were in the back.

It can be seen that when the two movies were released, the overall trend of the entire public opinion community remained consistent. Even if there were differences in details, the evaluations of authoritative media still followed a similar trajectory. The mixed reputation of the "Twelve Arhats" formed a sharp contrast with the praise frenzy of "killing with a knife", which also made the box office competition at the premiere weekend officially become fierce.

The bayonet is red, and it never gives in

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Chapter completed!