Turgid dialogue, like bad Graham Greene, keeps bogging down the film, making one wish for more well-mapped bits like Johnny's refuge-in-plain-sight at a pub. Nighttime is rarely so enveloping and palpable as here, yet Reed's picture feels like a collection of cloistered, sometimes mismatched scenes. Still, Mason does pain (of all sorts) so very well, his distinctive frame ever on the edge of half-spread-wings misshapenness.
Nicolas Rapold
September 2, 2009