Avaliações do Metacritic

By the end of the film, the film that seems so much like Collateral on the surface is actually far more personal, reminding us of the unlikely bonds that we can share together as human beings and that it's never too late to find a home and family beyond the conventional boundaries of what is expected.

Although the film starts as the gritty crime thriller suggested by its core premise, it pivots, unexpectedly but effectively, into something much more tender.

The Accidental Getaway Driver's ability to show connection across generations and languages has rarely been so expertly staged.

Its greatest asset is its performances, which operate in strikingly different registers (some more subtle or ‘naturalistic’ and others more heightened) yet somehow work together to further the film’s story and themes.

Despite comic touches, the story stays in the shadows of heart-to-heart talks and ruminations, with contemplative cinematography that sets faces like gems in the darkness and conjures heady visions of Long in Vietnam.

Maybe they don’t all deserve to escape punishment. But these otherwise overlooked lives deserve a spotlight.

The problem is that, after that early peak of a first act, The Accidental Getaway Driver doesn’t have much tension.

Its dedication to Long’s point-of-view is admirable, but Lee’s filmmaking hits the brakes like a student driver, sacrificing what made the framing narrative enticing in the first place.

Lee has crafted strong, sensible character studies, filled with long pauses and reflective beats. It’s just trapped in the wrong vehicle.

Unfortunately, the script — co-written by Lee and Christopher Chen — leaves a lot to be desired, squandering the old-school appeal of the true-crime drama for a dull and overlong mood piece in which nothing much happens and no real sense of danger ever registers.