'Citizen Gangster' Critic Reviews
New York Times
A good-looking but passionless affair that remains stubbornly aloof from its audience.
Morlando shows commendable focus (even Cox dials it down), and his movie's modest aspirations nicely reflect the condition in which Boyd, his damaged charisma spent, finally thrives.
New York Observer
As good as Citizen Gangster is, it would be even better if you could understand the dialogue.
Farran Smith Nehme
New York Post
Morlando has chosen to approach this material not with witty cynicism, but with quiet, and at times leaden, sincerity.
Globe and Mail
Inspired by Boyd's story, rather than literally retelling it, the movie is less a gangster film than an existential allegory of choices and limitations.
Los Angeles Times
Morlando has crafted a stylishly shot and evocatively designed period piece. But it's the dashing, quietly charismatic Speedman who proves the main draw, holding our attention even when the movie doesn't.
"Citizen Gangster" is not exactly riveting. Speedman does the best he can in the title role. He gives his character life even as the sub par script drags us along.
The true moments of tension and danger in this film sing, and some moments, big and small, will haunt the viewer.
Television Without Pity
With no firm hand guiding the proceedings, this potentially interesting slice of Canadian history winds up feeling like just another "Crime Doesn't Pay" PS
Film Journal International
How could the tale of Toronto's most flamboyant bank robber be turned into such a blah, seen-it-all-before film?
Citizen Gangster hits its marks when it's exploding the character's larger-than-life status, aided in large part by Speedman's career-best turn.
Time Out New York
Writer-director Nathan Morlando leeches every last bit of color from the frame, until the world around Boyd looks so dreary and drab you can almost understand his desire to liven the place up with a little theatrical mayhem.
[VIDEO] Everything about "Citizen Gangster" seems second-rate.
Its commentary on our fascination with law-breakers is virtually nonexistent, except to the extent that the film itself revels in the doomed romanticism of its own protagonist.