Soren Anderson(Seattle Times): Meet Ralph Steadman and his incubus visions of a world in pain, revealed in a mesmerizing documentary.
Bill Goodykoontz(Arizona Republic): The thin skin makes it clear that not merely was Steadman perfect for Thompson's operate (and a big part of his good fortune), his work stands on its own artistically.
Joe Williams(St. Louis Post-Dispatch): Giving one overlooked luminary his due is intellect enough for "For No Good Reason."
Tom Long(Detroit News): As astonishing as it is to watch the dependant work, and to review many of the alarming images he created over the years, the thin skin has its dead spots.
J. R. Jones(Chicago Reader): This is most worthwhile for its scenes of Steadman at labor, flinging ink all over the room and turning the splatter marks into his stamp grotesques.
John Semley(Globe and Mail): For No Good Reason sidelines Steadman's be in possession of bona fides, functioning primarily as a helper-hand documentary of Thompson, stoking the hagiography of the a day after the fair hipster icon.
Josh Kupecki(Austin Chronicle): Instead of embracing the utterly confused discovery that Steadman personifies, the thin skin ends up being merely a draw-by-numbers.
Jonathan Kiefer(SF Weekly): Paul's frenetic association strives in vain for the cinematic synonymous of Steadman's splotchy stimulus.
Bob Bloom(Journal and Courier (Lafayette, IN)): The film has some slow spots; at ages, it reaches pretention, but overall it is an interesting portrait of a contradictory individual who is egotistical of his work, yet questions whether or not it had in ~ degree impact on the world.
Graham Killeen(Milwaukee Journal Sentinel): For 89 madcap minutes, Paul and interviewer Johnny Depp guidance a surface-level whistle-stop circuit of the artist's life, not at any time once outstaying our curiosity.
Josh Bell(Las Vegas Weekly): The painter often doesn't even prepare to take center stage in his possess movie.
Jonathan Romney(Observer [UK]): Even admitting that we don't quite have to know the man, the ideal violence of Steadman's pungent pen emerges to vivid effect, in part though Kevin Richards's animations, and defiance Depp's sometimes over-impetuous respect.
Geoffrey Macnab(Independent): [A] mean-key, workmanlike documentary.
Mike McCahill(Guardian [UK]): Paul struggles to embrace Steadman's profligate energies in 90 minutes, and the waning presence of Johnny Depp, loitering between moneyless career choices to pull on a cigarillo and state at pictures, can't bestow it shape.
Adam Lee Davies(Little White Lies): A mewling besides occasionally deafening – and seemingly arbitrary – soundtrack copious with upstart folk-rock nobodies adds small to the experience.
Marc Mohan(Oregonian): You can almost feel Depp restraining himself from adage "Tell me more about Hunter," anew and again, but his enthusiasm and appreciation are substantive, and that's a pretty good reason for this movie to remain.
Frank Swietek(One Guy’s Opinion): Engaging yet uneven documentary…burdened by material that seems extraneous, not least much of the footage of Depp.
Jay Stone(Canada.com): Steadman emerges being of the kind which a man with a unique chimera. Too bad we didn't fall to know him a little wagerer.
Gary Thompson(Philadelphia Daily News): An attractive look at the work of Steadman, whose capricious arabesque, ink-splattered art provided the ideal complement to Thompson's gonzo hand~.