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The Samaritan
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The Samaritan
CRITICS OF "The Samaritan"
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Reel Film Reviews
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July 26, 2013

The Samaritan benefits substantially from the inclusion of a shocking turn in the narrative at around the halfway point...
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Paste Magazine
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May 22, 2012

Director David Weaver and co-writer Elan Mastai's neo-noir script is just a shadow of the genre.
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Globe and Mail
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May 18, 2012

A scripted cliché: the ex-con who wants to go straight until the plot kicks in.
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Film School Rejects
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May 18, 2012

The experience of watching Samuel L. Jackson actually act is the only real pleasure to be gleaned from the movie.
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Los Angeles Times
Resource

May 17, 2012

The haphazard feeling of the narrative deflates any real tension.
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New York Times

May 18, 2012

[Jackson's] doleful revenant is in almost every scene, and this hardworking actor seems to know that the film around him should be a light-footed caper instead of a grim noir with a side order of deviance.
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New York Daily News
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May 17, 2012

Way too much psychosexual melodrama, portrayed in performances that range from utterly bored (Jackson) to embarrassingly broad (Kirby).
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New York Post
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May 18, 2012

"The Samaritan" proves that even Samuel L. Jackson can be boring.
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Cinemalogue.com
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May 28, 2012

What could have been an intriguing character study about redemption turns into an absurd series of eye-rolling plot twists that makes it impossible to take this mess seriously.
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Reason Online
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May 18, 2012

Even the spirited Ruth Negga can't lift this by-the-numbers neo-noir out of its dull parboiled rut.
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Newark Star-Ledger
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May 18, 2012

It's not honest with its people, or its plot. And the only ones it really cheats are audience members.
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Slant Magazine
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May 19, 2012

It packs its narrative with a succession of increasingly clichéd twists, one of which involves the sudden recognition that its main character, Foley (Samuel L. Jackson), is romantically involved with his own daughter.
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