The New York Times published not only Javier's review, but also veteran film critic Joshua Roskoff.

"It's probably the most exciting rivalry movie since The Thief of Fire, with Cruise and Strello running through almost the entire film, and the interaction between the two men bursts into incredible chemistry.

Cruise plays a ruthless killer, indifferent, cruel, bloody, wise, decisive and detached, as if all the negative feelings of society are condensed together, but as the story progresses, we feel the character cracks little by little, and then struggles, explodes, confrontations, until it falls into silence.

Cruise not only plays this role as real and credible, but the most commendable thing is that he shows the changes of the character's feelings vividly, a look, an action, and a line can feel the depth of the character, and the desire to speak is still but the aftertaste is far-reaching, so that the audience can't help but follow the changes of the character and feel the ups and downs of the stormy waves in the process of watching; But after the movie ended, I couldn't help but fall into deep reflection: Is this killer a demon? Yes, but who created this demon was his own choice, or was it created by society, or by human nature.

In the last scene of the movie, Cruise's tense shoulders slowly relaxed, and in his calm eyes, he could clearly see that the feelings of relief were gradually dissipating, and all kinds of intricate emotions were dyed with a layer of gray because of the exhaustion of the past, and finally settled down with relief. The profundity 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 the Fourth of July', such as 'Magnolia', but Cruise is always Cruise, and he carries the idol baggage of the image of justice on his body, so that all performances have a layer of sparkling, contrived and stiff, confined to a formal framework. Even if it was a breakthrough, it seemed to be a breakthrough for the sake of 'breakthrough', but that layer of window paper was never pierced.

But this time it was different, Cruise who appeared on the screen was not only dyed with gray hair, not only precipitated the vicissitudes of life, but also completed the rebirth from the depths of his soul. Suddenly, we forget that Jì is Tom Cruise, or even that Jì is an actor, who is just a professional killer who wanders the darkness of the city.

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

Corresponding to Cruise's twenty-year career as an actor, this was Strello's first big-screen production, and his performance reminded me of Edward-Norton's appearance in 'Fear of the First Degree' – the first work of his career, full of spirituality, explosive power but without losing the touch of the character, and the precise details of the expression that make the character stand out.

Strello plays a taxi driver, a mediocre driver who hardly has any characteristics in him, even the obsessive-compulsive disorder of cleanliness is very limited in the film, let alone the support for the character, which is an extremely ordinary character - as if in real life

That's the power of acting!

It's hard to imagine that Strello is a rookie actor, and throughout the film, the free, restrained and deep, just right performance outlines the character in a quiet way, and the eyes hidden behind the glasses show the emotions that the language has not touched vividly, as if only a still picture is needed, and the story continues to enter the audience's mind.

What is even more unbelievable is that we ignore Strello's outstanding physical condition and firmly believe that this is the taxi driver that will appear in our lives.

Looking at Strello's resume, we have seen the fierceness and courage he showed in the "City of God", and we have also seen the momentum and control he showed in "The Day After Tomorrow", but that is all as a director - even as a director, "Killing with a knife" is only his third work, let alone as an actor. But this genius made a blockbuster appearance and amazed everyone!

The work "Murder with a Knife" is the stage between Cruise and Strello, from suppression to balance to counter-suppression, from game to conversation to confrontation, every scene is jaw-dropping, and suddenly, it reminds me of the confrontation between Rial Pacino and Robert De Niro in the "Line of Fire".

Hats off to Cruise, and cheers to Strello.

Wonderful! Wonderful! Wonderful! ”

Joshua's film reviews not only gave him the highest score of 95, but also sent the two actors with unparalleled words of praise, and it is clear that he loves the film.

The New York Times, the most influential newspaper in the United States, used two reviews by Joshua and Javier to set the tone of praise for "killing with a knife", but in contrast to the fact that they did not write a review of "Ocean's Twelve." The Wall Street Journal, whose influence in the United States is second only to the New York Times, also responded with a score of 90, undoubtedly pushing the strong influence of this work on the East Coast to the peak.

In fact, even across the United States, "Killing with a Knife" is enjoying a frenzy of praise with zero negative reviews.

In the West Coast media, the Seattle Post commented, "It has the same effect as 'Hitchhiker' in 1986, but the depth of the connotation is slightly less." "Sixty points.

"Cinematic Menace": "The performances of Cruise and Strello are indeed eye-catching, and the supporting roles such as Fassbinder, Ruffalo, Baden, and Beckinsale also have good performances; But on the whole, Strello seems to be content with showing off his skills, with fast drag racing, cool streets, psychedelic lighting, sharp editing, and seemingly deep but indescribably profound themes. It's like a video game that belongs to Strello. "Sixty-three points.

"The Austin Chronicle": "If you boil it all down to psychology and bring out the essence of the movie, it's that Vincent is too entangled, too inkblotted -- not a real tough guy in essence." This is also reflected in the whole movie, which lacks the ruthlessness and moments of violent outbursts. "Sixty points.

These reviews, like Vanity Fair, advertise themselves as neutral rather than negative, and are countered by praise from the East Coast media.

"New York Post:" Strello shows superb skill, excellent control and profound humanity in the film, full of excitement and connotation, a masterpiece of maturity and confidence in the characters, the script, the story, the lighting, the camera, and the editing, whether it is a man or a woman, can not refuse such a beautiful and romantic work. "Ninety points.

Chicago Tribune: "In nearly a decade, no crime movie has reached such heights, even the 'Seven Deadly Sins.'" Strello has injected incredible energy into 'Killing with a Knife', from the script to the cinematography, from the characters to the performances, which is worth savoring over and over again. "Ninety points.

The Washington Post, "The best example of a crime thriller genre: one that follows a framework but breaks with convention, with familiarity and freshness at the same time, finding the perfect balance between entertainment and art." "Ninety points.

"Entertainment Weekly", "Incredible casting, Cruise gave the best performance of his career, confident and restrained, meticulous and flamboyant; But it's Strello who really lights up the chemistry of the film – he delivers the most surprising, unexpected, and shocking debut performance of the year. "Eighty-three.

"The New Yorker", "Lancelot-Strello tells a midnight horror story that takes place in Los Angeles, but takes the audience into an isolated and ambiguous space, detached from reality but not completely free, thrilling and fascinating; But on the whole, it doesn't look like a traditional thriller crime movie, because its profound connotation reflects reality and excavates more possibilities. "Eighty points.

"Variety": "Between shots, between scenes, between characters, Strello – the director who directed 'City of God' and 'The Day After Tomorrow' – shows an astonishing power of control, boldly and innovatively breaking the shackles of tradition, while also giving the film an incredibly deep meaning." Every minute is not to be missed, every shot is worth remembering, he is probably the best director in Hollywood right now! "Eighty-five points.

Praise, praise, praise!

Almost all the media have used indescribable praise to push "killing with a knife" to a new peak, and the excellent table with zero negative reviews has won the unanimous approval of the entire industry, so the situation has far exceeded the praise that "City of God" has brought to Lance, which is really not expected by anyone. 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 evaluations of "Hollywood Reporter" and "Variety", professional media in the Hollywood industry, also coincide with the overall momentum.

The "Hollywood Reporter" gave "Ocean's Twelve" 75 points and "Murder with a knife" 70 points; The scores of the two works in "Variety Show" are thirty-three points and eighty-five points respectively, and "Twelve Arhats" is in the front and "Killing with a Knife" is in the back.

It can be seen that after the two films came out, the overall trend of the entire public opinion circle remained the same, and even if everyone disagreed on the details, the evaluation of the authoritative media still followed a similar trajectory. The mixed accolades of "Ocean's Twelve" are in stark contrast to the frenzy of praise for "Killing with a Knife", which also makes the box office competition for the opening weekend officially white-hot!

The bayonet is red, and it does not back down! (To be continued.) )