Dreamland

The film makes the most of its sparseness, using the strong performances of its ensemble cast (including a reliably excellent Margot Robbie) to question the accepted boundaries between right and wrong, citizen and outlaw.

The important thing is that Dreamland accomplishes its main intention, which is to make us invest in this strange love story.

You’ve seen this story a thousand times before, but Joris-Peyrafitte’s expressive direction and Margot Robbie’s sheer force of will are enough to endow the movie’s best moments with the same hope-and-a-prayer immediacy that its heroes take with them as they speed towards the southern border.

Dreamland is no masterpiece but it is a robustly made action drama, with impressive and even daring visual sequences.

Dreamland is a fairly straightforward crime saga that doesn't reinvent the wheel, but is still enjoyable thanks to Robbie and its production values.

The new Margot Robbie vehicle Dreamland seems to be about legends, the price of escape, maybe unreliable narrators — but ends up not saying much about any of them.

It’s a lot of hooey and might have been at least tolerable if the movie had been rougher, meaner, tighter, and if the filmmakers — the writer is Nicolaas Zwart, the director is Miles Joris-Peyrafitte — had never watched a Terrence Malick movie.

This film turned out to be one of the surprises of the year, offering some rare style from moviemakers I’d not heard of before. Production values, visual design, and performances are first class with strong naturalistic use of dramatic locations, transporting the thinking viewer into some bleak, dust-battered landscapes. First time feature writer Nicolaas Zwart creates an interesting variety of characters to propel this study of a wounded, escaping female bank robber (Marot Robbie) holed up in the barn of a struggling 1930s dustbowl farm – in turn, being assisted by the owner’s downtrodden young step-son (Finn Cole) Co-writer, director and score composer Miles Joris Payrafite works well with Award-winning cinematographer Lyle Vincent, creating a moody atmosphere with eye-popping shots of massive dust storms blanketing barren farmlands. For some, this could be familiar ground, but the cast of above-average performers and strong visual treatment should keep the patient viewer fully engaged. There’s a winning star turn by young Darby Camp, as the son’s adoring young sister. A largely unnecessary scene featuring a seduction in a shower is overlong and somewhat detracts from the general flow of the story, along with some F-bombs that filter through. As in most movies, there are the odd details that don’t always work, but these are minor compared to many - and with all the modern innovations for sound, some of the post production voice-over narration was a little muffled and hard to hear – otherwise a slick and thoughtfully enjoyable entertainment.

Perhaps the worst sin a crime saga can commit is being dull, yet that's precisely what bogs down this Depression Era tale of a fugitive on the run who's shepherded out of harm's way by a star-crossed, impressionable, adventure-seeking youth. (Think "Bonnie and Clyde" (1967) meets "Summer of '42" (1971), and you've got a rough idea what this one is about.) Unfortunately, neither the crime element nor the sexual tension is ever quite what it could (or should) be, with far too much boring chatter and only paltry servings of what should have made this film engaging. To be sure, Margot Robbie's performance as the bad girl femme fatale is a sure-fire winner, and the picture's stunning cinematography and superb production values place viewers right in the heart of the 1930s Dust Bowl. But the dearth of elements that should have driven this offering severely undercuts the guts of the story, regrettably making it a mostly big tedious snooze.

This movie was interesting but I didn't like the ending. If they would have made this more of a happy ever after kind of an ending I think it would have worked better. But just killing her off was kind of BS.

To be honest this film wouldn't have gotten the same attention if it weren't for Margot Robbie and I think she got the role to continue proving herself as a more serious actor, besides the **** she got from Harley Quinn. The film is well made, but cannot help being a bit boring.

Margot Robbie continues to prove herself as a versatile actor but she can't save this dull and sluggish film