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In Cold Blood
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In Cold Blood
CRITICS OF "In Cold Blood"
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Creative Loafing
Resource

November 28, 2015

Writer-director Richard Brooks' detached style allows for a non-exploitative presentation, and the contributions by cinematographer Conrad Hall and composer Quincy Jones are first-rate.
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Times (UK)
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September 10, 2015

Truman Capote's non-fiction masterwork gets the film noir treatment from director Richard Brooks, with a slow dissection of "a crime that shocked a nation."
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Little White Lies
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September 11, 2015

Blake and Wilson give wonderfully natural performances: eerie in their casual attitude to murder but endearing in their open natures. In Cold Blood doesn't judge them but doesn't excuse them.
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Examiner.com
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July 01, 2016

Visually striking, with two astonishing lead performances, but it never quite plumbs the emotional depths of the Truman Capote source material.
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Independent (UK)
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September 11, 2015

It's both a "true crime" movie and a poetic account of two young men who, by committing an act of unspeakable brutality, unleash the furies against themselves.
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New York Times

May 20, 2003

Excellent quasidocumentary, which sends shivers down the spine while moving the viewer to ponder.
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Vue Weekly (Edmonton, Canada)
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December 03, 2015

Chief among the film's distinctions are the beautiful gloom of Conrad Hall's monochromatic cinematography... There are the fearless, wonderfully contrasting performances by Robert Blake and Scott Wilson as the sociopathic killers.
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Variety
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April 08, 2008

A probing, sensitive, tasteful, balanced and suspenseful documentary-drama.
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Chicago Sun-Times
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June 18, 2002

Brooks' great achievement in the film is to portray Smith and Hickock as the unexceptional, dim-witted, morally adrift losers they were.
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Chicago Reader
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January 01, 2000

An uneasy mixture of facile Freudianism and 40s expressionism.
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Time Out
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February 09, 2006

In contrast to Capote, whose obsessive documentation of the pair's every act betrays his fear than he (and his readers) could well do something similar, Brooks explains and sympathises away their act as being unique to them.
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Los Angeles Times
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March 02, 2006

Hall's bleak vision, his gift for working with darkness and rain, rivals classic film noir of the 1940s and '50s in its visual mastery.
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