Most critics come away won over. The reviews describe a thriller that puts weighty matters, faith, grief, new fatherhood, inside a pulp action frame, and most think the two halves feed each other rather than fight. Praise lands almost unanimously on Mahershala Ali, whose stillness and physicality are credited with carrying a widowed hitman’s inward reckoning. Several also note how the premise, a father’s search for breast milk, undercuts the usual macho conventions, and a few single out Bassam Tariq’s visual direction and John Cho’s antagonist.
The reservations gather around tone. A handful of critics find the mix of action, eccentric humour and religious inquiry messy, with the film gesturing at its themes rather than examining them; The AV Club also faults it for sidelining its women. The spread is wide, running from near-raves to one clear dismissal: Deadline’s Damon Wise finds it dour and uneven, and grows weary of the solemnity in Ali’s performance that others admire.
