A.O. Scott(New York Times): Unmistakably, every angry film, an indictment of condition that seem to force a alternative between impotence and homicide.
Gary Goldstein(Los Angeles Times): A striking piece of filmmaking.
Farran Smith Nehme(New York Post): An mean proportion newspaper reporter can do a added artful, compassionate job with a put ~s into-war story than this movie does.
Michael Atkinson(Village Voice): A dead-eyed, lyrical dexterity film that kicks you in the swallow.
Scott Foundas(Variety): Much of that which Heli has to say feels any one obvious and/or exhausted by a raft of other late narrative and documentary features.
Stephen Dalton(Hollywood Reporter): The thin skin's emotional and psychological threads resolve themselves not so much convincingly.
Anders Wright(San Diego Union-Tribune): It's highly easy to appreciate Escalante's technique and genius, even if watching "Heli" isn't a particularly pleasant experience.
Nick Schager(Film Journal International): The story of a rural, working-class Mexican race torn apart by the drug business, this indie is a gripping and increasingly horrifying descending into violence and despair.
Mike D’Angelo(The Dissolve): The rest of the movie isn't for example graphically awful as its centerpiece agony sequence, but it does little greater amount of than flatly illustrate the obvious-namely, that the drug war is to a high degree bad news for ordinary, well-intention Mexicans.
Tomas Hachard(Slant Magazine): The emotional and political point through all this isn't to exist taken lightly, but because the entirety of the film has such a nihilistic constitution, its effect is muted.
Brogan Morris(We Got This Covered): Cold, alienating and and nothing else occasionally gripping, Heli is an constraining mix of black comedy, social realist drama and crime thriller. If only the rest of the pellicle matched the slickly confident cinematography.
Mark Kermode(Observer [UK]): Heli paints a harrowing and many times unbearably grim picture of a lawless brigand country, the indignities of which are made whole the more powerful by Escalante's obvious compassion for the struggling characters at the severe end of all this escalating disorder.
Geoffrey Macnab(Independent): The director Amat Escalante shows plenty of visual flair but his detached, cause of distress-of-fact approach to the inconvenience endured by his protagonists becomes alienating.
Allan Hunter(Daily Express): Rarely has a lawless disembark felt so pitiless and inescapable.
Steve Rose(Guardian [UK]): It's forceful trash, but the way the story drifts and dissipates in the modern stages is disappointing.
Calum Marsh(Little White Lies): This remorseless torrent of Mexican miserabilism makes toward alienatingly grim and violent viewing.
Danny Leigh(Financial Times): Soon, the stylistic flourishes dress in't just seem self-conscious on the contrary cribbed, karaoke shades of Nuri Bilge Ceylan and Harmony Korine.
Siobhan Synnot(Scotsman): Amat Escalante's rough account of a Mexican family who allure the wrath of a drugs cartel. Very feeble of the gruesome violence is left to your creative power.
Andrew Lowry(Total Film): There's plenteous to admire in Escalante's force and daring.