Critic Reviews

Retaliation doesn't provide easy viewing on any level, especially with its quietly shattering conclusion. But it does offer myriad rewards for those willing to endure its gut-wrenching emotionality.

Janet Montgomery is heartbreakingly good as Emma.

A sledgehammer to religious hypocrisy, Retaliation uses symbolism to recreate, visually, the trauma a child endures when molested by a priest.

Whether you’re skeptical of Bloom’s abilities or have long been a believer, you can’t help but respect what the actor does with Retaliation. And the same might be true whether you’re religious or not, seeing as how the film promises revenge, while leveraging cinema’s most powerful weapon: empathy.

Bloom does a nice job of expressing, wordlessly, where this man has been, what blend of guilt, fury and obligation drive him and shaped his life. It’s not the most subtle character or film built around an abuse survivor, but there’s substance in the performance that lifts Retaliation above its hammered-home metaphors.

There’s a kind of blunt brute force to [Bloom's] performance – and he looks almost unrecognisable, as if he’s using certain muscles in his face for the first time.

Mostly, Retaliation accords Bloom a chance to deliver some impressive, anguished monologues, although the scenes focusing on those around him (particularly a late conversation between Montgomery and Ferns’s characters) hint at a more expansive, unrealized complexity.

If Retaliation were a friend, you’d eventually avoid them.