90

The New York Times

By Jeannette Catsoulis
Nuances of faith, politics and sexual identity enrich what initially presents as a classic good son-bad son tale.
Full Review
80

The Guardian

By Peter Bradshaw
It's an athletic, loose-limbed piece of movie-making, not perfect, but bursting with energy and adrenaline.
Full Review
80

Total Film

What distinguishes My Brother The Devil is El Hosaini’s maturity in avoiding faux-doc grittiness, political grandstanding or flashy glorification in favour of an intimate, closely observed character piece.
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80

Empire

Already a compelling gangland saga, this vastly promising debut turns into something more surprising when social prejudice becomes the characters’ weapon of choice. If that sounds too much like a lecture, El Hosaini’s voice remains crisp, cool and consistently street-smart.
Full Review
80

The Hollywood Reporter

By David Rooney
While on the surface, this is a variation on boyz-in-the-‘hood dramatic staples, the film is rooted in anglicized Arab culture yet universally accessible in its reflections on identity issues. It’s a very promising debut – slick, muscular, entertaining and emotionally satisfying.
Full Review
75

New York Observer

By Rex Reed
It’s far superior to what usually comes out of the British slums in the genre of gangland thrillers.
Full Review
70

NPR

By Mark Jenkins
Shot entirely in Hackney — a mostly ungentrified London borough — My Brother the Devil has a strong odor of authenticity.
Full Review
63

Slant Magazine

By Steve Macfarlane
With My Brother the Devil, writer-director Sally El Hosaini tells a story both operatic in its implications and quotidian in its sensory, day-to-day details.
Full Review
63

New York Post

By Farran Smith Nehme
The plot doesn’t entirely escape formula, and the ending is jagged and forced, unable to commit to either hope or gloom. But for at least part of its length, My Brother the Devil brings refreshing changes to a genre badly in need of them.
Full Review
60

Time Out New York

By David Fear
Even those who aren’t well-versed in the-’hood-always-wins dramas can see what’s coming. So it’s to newcomer Sally El Hosaini’s credit that she embeds a tangible, lived-in sense of the region’s diaspora community and urban criminal underbelly (wagwan, near-indecipherable East End patois!) that’s leagues away from anthropological fetishizing.
Full Review
72 out of 100
Generally favorable reviews
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.