Recencies van critici

The Lost Bus is pure, unfiltered terror that feels bigger because it’s based somewhat in reality... [and] the script lends itself well to Greengrass documentary styled approach to devastating spectacle.

At its best, “The Lost Bus” offers a testament to people’s courage, solo or in groups, when faced with nature’s deadly chaos... At its worst, it reduces the biggest fire-related calamity in recent memory... to an effective but impersonal disaster movie.

Drawing on his early days as a current-affairs director, [Greengrass] shoots with a kinetic fervour that suggests his cameraman is forever catching up with unexpected circumstances... McConaughey and Ferrera prove the most delightful endangered bus companions since Keanu Reeves and Sandra Bullock in Speed, exhibiting just the right balance between tension and comradeship.

[A] dynamically shot and earnestly performed real-life disaster movie.

A tale of simple townsfolk rising to the occasion, its action movie structure never betrays its somber reality. Instead, its Hollywood stylings take what might otherwise be seen at a documentarian remove and make it feel intense and immediate, as the film thrusts its audience right in the middle of an unfolding disaster.

There’s very few bum notes here... Like the children, the movie relies on McConaughey and he elevates a potentially two-dimensional character with a bruised heart and hangdog vulnerability in a way few others could.

As well as a return to the style of Captain Phillips, The Lost Bus proves to be Greengrass’s finest film since: a story of human resilience in the direst of straits, with an unflinchingly human focus.

The fire scenes [in The Lost Bus] are terrifying and may well sear themselves into your brain, but however well-intentioned, the human element is less involving than the disaster they must endure.

[The Lost Bus] is basically Speed meets The Wages of Fear but on fire... what Greengrass and his team have done here is complete, head-spinning, pulse-quickening and nauseating immersion.

Greengrass knows how to shoot and cut, but “The Lost Bus” is at once too high-minded and too exploitative to work. However skilled the cinematography and editing, there is no saving a movie predicated on looming death with badly written characters and such a frustratingly narrow point of view.

[The Lost Bus] makes a great fit for Greengrass. The maker of United 93 and Captain Phillips can handle the weight of a film adjacent to journalism. The director of the Bourne franchise can also translate that into gripping visual cinema. No gravity is lost in the act.

When it’s focused, The Lost Bus is a rousing, sweaty gaze into the barrel of a flamethrower. There are flickers of Dante’s Peak and Daylight as Greengrass keeps the momentum barreling forward... Without that grandeur—that Hollywood-sheen take on storybook resilience—the film’s uneven application of sad-sack strife might extinguish McConaughey’s guiding performance.