Metacritic-Rezensionen

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.

A drama with dazzling visuals, subtle performances and deft nods to classics like Days of Heaven and Bonnie and Clyde. ... While Dreamland doesn’t entirely overcome its familiar trajectory, the film is so stunning in every other way that its narrative shortcoming hardly matters.

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.

The story itself is unremarkable, even thin — there are no surprising twists or turns, no big lessons in the script by Nicolaas Zwart — but the relationship at its core is hugely entertaining to watch.

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

While it's unlikely that this film will take up too much time in any future Lifetime Achievement Award clip reels, Dreamland is a testament to the importance of sheer star power to help carry even haphazard material along, at least up to a point.

Dreamland doesn’t quite work, but she (Robbie) deserves an A for effort.

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.

Miles Joris-Peyrafitte’s ultimately succumbs to melodramatic clichés and simplistic political demagoguery.

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.