Slant Magazine: In fairness to Affleck, he does duck many of the clichés that mar portrayals of autism. Chris's moments of uncontrollable emotion are almost entirely restricted to flashbacks of his childhood, and even the character's mannerisms—tapping fingers on tables, blowing on his hands before touching things—aren't lingered upon, instead performed with the absent-minded calm of settled routine. Affleck appears to recognize the fundamentally trashy core beneath O'Connor's sedate, measured direction and the film's generally somber tone, and he subtly plays up Chris's social interactions not for pity, but for oddly relatable comedy. Interrupted during a private lunch at one point, Chris doesn't become hostile, but his body language stiffens like a board, and the exasperation on his face as he endures small talk comes off as office humor. Later, when his more illicit activities draw heat and he must kill an attacker in front of people he knows, Chris comes out of his bloodlust shakily, remembering his nearby friends and jerking his arm upward in an awkward wave as if trying to offer a normal goodbye. It's the most engaging Affleck has been in years, despite playing such an alienated character.
In a world where monsters attack at night, we see yet another world, post-apocalypse, where a handful of people struggle to survive.
Crime Scene Berlin-Nightlife Killer Review: This documentary series really drops the ball with its storytelling.
In a movie that largely sidesteps what the war is about, “Civil War” puts us in the point of view of journalists who make it clear there are no heroes in war, just dead bodies.
