Who payed the critics

Dreadfully Boring

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Released in 2011 but seemingly shot in 2005. There is even a Brokeback Mountain gag. If Bruce Willis and Forest Whitaker thought they buried this film then they did a rotten job just like the writer/director of this film.Right from the opening titles you feel a Tarantino vibe, you see people having useless conversations in a diner/bar resulting in a hold up. A shootout ensues before we end up with flashbacks as to how they got there.The film has ten minutes of plot stretched out with scenes repeating themselves and pointless jabbering. Bruce Willis appears for a few scenes as a gangland boss who sends three women who have messed up on a previous job on a fools errand. Forest Whitaker is Willis's henchman who is to rendezvous with the women.The film is excrement. There is just a lot of talk, some mindless violence and characters that are not interesting so you do not care if they die. Compare this with Pulp Fiction where you get upset that Travolta's character dies midway through the film.The film just shows that many people think that its easy to do a Trantino type film when it certainly is not.

"Catch .44" is a good film because it keeps us wondering until the very end about who the characters are, what they are doing, and what the story is or what's going on. The film is told out of sequence (and to good effect). Unlike most films, this one is not stupid or pointless. It reminds one of a stage play (character drama), but for today's audiences. It is not an action film but a poignant drama.I noticed the many bad reviews for this film. Funny how that is because I found this film to be original and refreshing in a way. Of course the film is not for everyone's tastes but I enjoyed it. For people who did not enjoy this film, please keep the bad reviews to yourselves. "Catch .44" does not compare with other films.

I think whoever produced this film had an agenda-to make one of the worst possible movies without appearing to be doing it overtly. The movie is clichéd and steals from Quentin Tarantino but has none of the flare of a Quentin film-as in no real action sequences unless you count people getting shot as "action." The film has an awkward cast-Bruce Willis playing alongside actresses that seem like they belong in a Lindsay Lohan film and then Forest Whitaker thrown in for 'colour'-I mean the dudes black-how ridiculous can you get? It's coy of the filmmaker to do that plus Forest's accent goes from Spanglish to mid American and then back to Spanglish rendering the believability of his character just about nil. It's a dull movie basically-one that i think seeks to offend audiences more by its banal depiction of North American life like some nightmare version of an episode of the now defunct True Blood-set in a brutal post something world where the rules no longer apply in any recognizable form. Nothing too clear but its definitely there. The person I saw this with liked it but I found myself hating it halfway through. Bruce Willis gives the most lame performance of his career in this one that feature him for probably a total of eight minutes in all. Sheer crap-to put it bluntly.

Lame Tarantino knock-off/wannabe wastes a fine cast (Bruce Willis, Forest Whitaker, Shea Whigham) and features an excruciatingly long stand-off that goes on seemingly forever (instead of wringing as much suspense out of it as possible, the director has the three pointing guns at each other rambling on and on, resulting in tediousness). Three babes (Malin Akerman, Nikki Reed, and Deborah Ann Woll) are given the job by Mel (Willis) to rob a diner, but it doesn't go off so well. A shotgun blast takes out Reed immediately as the film opens, blood pooling from her as the credits roll, preparing you for the way the film uses bludgeoning violence for any impact at all. Not one single likable character in the whole cast: everyone's out to grab that brass ring (or in this case, a bag of drug money), and a lot are dead by film's end because of it. Akerman gets the star billing and is designed as the anti-heroine of central focus. Her girls are taken out before her eyes in a job that was ransacked by betrayal from the onset (Mel is a shady scumbag who really shouldn't have been trusted). Then comes Billy (Whigham) and his shotgun, telling Akerman's Tes to put the gun down. This is a stand-off of two that becomes three when hit-man Ronny (Whitaker) shows up in a deputy uniform. Ronny carries a torch for Tes, every since seeing her in the strip club she waitresses. Tes is a natural pickpocket and moonlights as a robber, accepting jobs from Mel, pushing drugs for him. Backwards and forwards in time, replaying the shootout that killed Tes' girls, Catch .44 desperately desires to achieve that Tarantino cool, with long dialogue scenes (like Willis telling a story about Running Bear to Whitaker, Reed and Woll sharing sister-time (each telling the other how they feel about the next job that'd kill both of them) at a gas station, Whitaker using his stolen deputy uniform and cop car for kicks when he pulls over the girls, and Akerman sharing a conversation with Willis over a job) meant to mimic a Pulp Fiction or Reservoir Dogs, failing to conjure even a glimmer of the magic that made those films so much fun. Whitaker, who can be damned riveting in the right part, is saddled with a sweaty, pathetic creep, homicidal and tired. Willis, with these spots all over his neck and face, has seen better days than this. Brad Dourif is a sheriff who just keeps running up on crime scenes. Whigham doesn't have much here other than a character that orders around and shouts at Akerman, with the intent on removing any threats that could stand in his way. Plentiful outbursts of violence, profanity-laced back-and-forth, and full of unsavory characters, Catch .44 unfortunately doesn't feature anyone that interesting, nor does it surprise. Akerman is a babe, though, and she's easy on the eyes even if her character is about (if not just as) rotten as the people she surrounds herself with.