The Boondock Saints II: All Saints Day: Critic Reviews

Earns points only for being remarkably unself-conscious about its across-the-board ineptitude.

Indulges in extreme movie love.

[It] isn't art but it is an improvement: a scurrilous, lowdown, sub-Tarantino action comedy that, unlike the original, doesn't make you want to claw your eyes out. How's that for praise?

Duffy is still chasing his perfect slide-and-shoot, except now with more self-satisfied posturing, awkward pop-culture referencing, casual homophobia and racism, and the most vulgar co-opting of religious iconography this side of Dan Brown.

The only truly ugly side to this self-consciously grimy movie is the streak of Neanderthal humor. Operatic overacting is funny. Racist and homophobic jokes? Not so much.

Can you fly forward through the air while firing two heavy-duty handguns without your arms jerking back and smacking you in the chin? Would that violate one of Newton's laws? Just askin'.

Writer-director Troy Duffy needs to YouTube himself a new idea or two, because his variations on themes provided by Quentin Tarantino and Guy "RocknRolla" Ritchie are pure mold.

It's as if writer/director Troy Duffy threw every idea he had at the wall, creating a very messy wall.

The film's style mirrors that of the original, which was already late to the Reservoir Dogs ripoff party and feels doubly dated now, with Duffy still relying on his old trick of cranking up the heavy metal and techno music to boost excitement.

A throwback picture that returns you to the late '90s, when every third filmmaker thought he was the next Quentin Tarantino.

The plot is an afterthought, the performances given with a wink and a clip-emptying flourish.

Bold prediction: At his current glacial pace of progress, Troy Duffy is likely to write and direct the great Irish-American payback movie sometime in the year 2049.

Imagine Quentin Tarantino if he got his brow lowered.

If Duffy's decade away has proved to be a humbling experience, you wouldn't know it from this bloated follow-up, which tonally goes all over the place, but its primary direction is over the top.

Cloaking vigilante justice (not to mention casual racism and homophobia) in religion eventually turns Boondock Saints from merely a bad movie to a distasteful one.

Time may have healed some of Duffy's wounds, but it hasn't made him a better Tarantino knockoff, unfortunately.

[Norman] Reedus pretty much captures the entire film with his signature line: "Let's do some gratuitous violence."

For fans of the original underground hit, the sequel we were all wishing for has arrived.

"There's not a bigger '**** you!' from Hollywood than when they say: 'Eh, we're not going to release this film,'" "The Boondock Saints II: All Saints Day" star Sean Patrick Flanery said in an interview.

If you liked the original "The Boondock Saints," you won't want to miss this one.

Idiotic style over some sorely needed substance....comes across cringingly rusty; a glorified fan film that only manages to make the popularity of the original picture all the more bewildering.

It would be a disservice of an almost, you will pardon the expression, sinful nature to mistake it for anything deep, or anything more profound than the hellzapopping fireworks show that it is

Trash--grubby and nonsensical, with lame dialogue, wretched overacting and clumsily staged action sequences.

You can't call Duffy's film style original. But he's clever in what he steals.

All I can really say is that if liking a movie where two guys swing off of ropes tied to a building into a window with guns blazing and proceed to slide across the floor on their knees while shredding mobsters up with bullets is wrong, then I don't want t