Critic Reviews

A far darker side of London is painted in bleakly realistic tones in City of Tiny Lights but, like its protagonist, Travis' film shoots from the hip, has a glint in its eye and packs a mean punch.

A rich, rewarding crime film, shot with real skill. Riz Ahmed confirms his status as one of the most exciting Brit actors of his generation.

Director Pete Travis lends the evening setting a welcomingly mysterious glow amongst its shadows, visually complementing Neate’s plotting to bring us into the action on the ground floor.

City of Tiny Lights exerts tension throughout and remains intriguing in its use of terrorism anxiety and anti-Muslim prejudice as fodder for hasty conclusions.

A classic private-eye tale updated for a multicultural London, director Pete Travis’s noir is entirely watchable, but it’s only because of to Ahmed’s captivating presence.

Ahmed anchors a film that's more successful in style than in logic.

City of Tiny Lights is always entertaining, and proves a great excuse for Ahmed to confirm his newly minted matinee-idol status. If only it had the confidence to shrug off its influences and do its own thing.

Director Pete Travis’s film is distinguished by some transposition of noir tropes into cultural spaces not traditionally associated with the genre — from the London bar scene to a mosque — that keeps things from feeling too déjà vu.

The problem with City Of Tiny Lights is a plot that is all too easy to second guess and stretches of dialogue which fail to sparkle.

Charmless and saddled with disastrous flashbacks, this doesn’t have the street smarts to play its strongest hand. There’s a great film in here struggling to get out, but the definitive London noir still remains unmade.