"Sadly, this time around, in spotlighting his star's fatigued charisma, Collet-Serra's formidable filmmaking chops have plateaued. Run All Night deals in slick professionalism (DP Martin Ruhe brought similarly peerless craft to Anton Corbjin's first two features), but it's short on the formalist surprises that have animated Collet-Serra's B-movie career thus far. Alongside the shifty subjective camerawork and mirror-play of Unknown or the three-dimensional text message windows of Non-Stop, Run All Night's visual gimmick—hyper-detailed Fincherian aerial glides that connect the film's disparate Big Apple locations—is comparatively banal and inconsistently deployed." Full review at Slant.
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