46
Metascore
11 reviews · Provided by Metacritic.com
- 80Film ThreatFilm ThreatTop it off with a cameo by the real-life Phil Kaufman, and you've got a rock'n'roll road movie like no other. Wherever he is, Gram should get a kick out of it.
- 63New York Daily NewsElizabeth WeitzmanNew York Daily NewsElizabeth WeitzmanGram Parsons' last rites were among the most extra­ordinary in rock history. Too bad this retelling of the singer's final adventure is so tame.
- 50Village VoiceVillage VoiceNeither a satisfying exploration of ’70s culture, nor a madcap "Weekend at Bernie’s" caper, nor an informative paean to Parsons's legacy, Grand Theft stumbles toward all three possibilities, backpedals, then stalls, left to coast as an insipid road movie.
- 50New York PostMegan LehmannNew York PostMegan LehmannThe film is too low-key to be the farcical rock-and-roll jape it sometimes seems to strive for, yet too lighthearted to be affecting.
- Knoxville is surprisingly good playing a man who may have been in one too many barroom brawls, moving with a hunched, hips-forward swagger that suggests someone constantly walking through very low doorways.
- 50The New York TimesDana StevensThe New York TimesDana StevensParsons himself might have written a surreal, funny-sad ballad about the aftermath of his own death, but Grand Theft Parsons is little more than a surreal anecdote, told in too much detail and without enough soul or imagination to make anything more than a footnote to a legend.
- 50The Hollywood ReporterFrank ScheckThe Hollywood ReporterFrank ScheckWhat could have served as a colorful episode in a more expansive film about the famed singer has instead become the premise of a mildly entertaining but overextended road movie that doesn't succeed on either dramatic or comedic terms.
- 40TV Guide MagazineKen FoxTV Guide MagazineKen FoxThe best thing about the whole sorry enterprise is the soundtrack, which features choice tunes by Bruce Springsteen, Starsailor and, of course, Parsons himself.
- 30L.A. WeeklyJohn PattersonL.A. WeeklyJohn PattersonIrish director David Caffrey and English screenwriter Jeremy Drysdale have, respectively, zero sense of pace and a tin-eared grasp of period speech, and together fail either to let us care about their characters or to create any sense of a living era.