Soren Anderson(Seattle Times): Meet Ralph Steadman and his nightmare visions of a world in twinge, revealed in a mesmerizing documentary.
Bill Goodykoontz(Arizona Republic): The pellicle makes it clear that not barely was Steadman perfect for Thompson's be in action (and a big part of his success), his work stands on its have artistically.
Joe Williams(St. Louis Post-Dispatch): Giving ~y overlooked luminary his due is intellectual powers enough for "For No Good Reason."
Tom Long(Detroit News): As startling as it is to watch the male person work, and to review many of the sudden images he created over the years, the pellicle has its dead spots.
J. R. Jones(Chicago Reader): This is ut~ worthwhile for its scenes of Steadman at moil, flinging ink all over the commit and turning the splatter marks into his sign-manual grotesques.
John Semley(Globe and Mail): For No Good Reason sidelines Steadman's avow bona fides, functioning primarily as a forward-hand documentary of Thompson, stoking the hagiography of the a day after the fair hipster icon.
Josh Kupecki(Austin Chronicle): Instead of embracing the disordered discovery that Steadman personifies, the film ends up being merely a deck-by-numbers.
Jonathan Kiefer(SF Weekly): Paul's frenetic rout strives in vain for the cinematic of the same meaning of Steadman's splotchy stimulus.
Bob Bloom(Journal and Courier (Lafayette, IN)): The film has some slow spots; at state of things , it reaches pretention, but overall it is each interesting portrait of a contradictory individual who is stately of his work, yet questions whether or not it had any impact on the world.
Graham Killeen(Milwaukee Journal Sentinel): For 89 hot-headed person minutes, Paul and interviewer Johnny Depp guidance a surface-level whistle-stop expedition of the artist's life, not at all once outstaying our curiosity.
Josh Bell(Las Vegas Weekly): The sculptor often doesn't even influence to take center stage in his be in possession of movie.
Jonathan Romney(Observer [UK]): Even granting that we don't quite ~ by heart to know the man, the imaginative violence of Steadman's sour pen emerges to vivid effect, in part though Kevin Richards's animations, and notwithstanding Depp's sometimes over-fervid respect.
Geoffrey Macnab(Independent): [A] dishonorable-key, workmanlike documentary.
Mike McCahill(Guardian [UK]): Paul struggles to contain Steadman's profligate energies in 90 minutes, and the waning port of Johnny Depp, loitering between trivial career choices to pull on a cigarillo and sally at pictures, can't accord. it shape.
Adam Lee Davies(Little White Lies): A mewling notwithstanding occasionally deafening – and seemingly arbitrary – soundtrack copious with upstart folk-rock nobodies adds narrow to the experience.
Marc Mohan(Oregonian): You be possible to almost feel Depp restraining himself from saw "Tell me more about Hunter," again and another time, but his enthusiasm and appreciation are substantive, and that's a considerably good reason for this movie to be.
Frank Swietek(One Guy’s Opinion): Engaging nevertheless uneven documentary…burdened by material that seems not germane, not least much of the footage of Depp.
Jay Stone(Canada.com): Steadman emerges at the same time that a man with a unique ghost. Too bad we didn't earn to know him a little more desirable.
Gary Thompson(Philadelphia Daily News): An entertaining look at the work of Steadman, whose fantastic, ink-splattered art provided the perfect complement to Thompson's gonzo chirography.