Compare Peaky Blinders: The Immortal Man vs Klara and the Sun

An apparent CGI hat is called conspicuously poor, creating a distracting visual blemish in the effects work.

The automated machine integrates convincingly with real locations, giving its presence a realistic visual weight.

An apparent CGI hat is called distractingly bad, standing out as a conspicuous weakness in the effects work.

Pixelated calibration effects offer an inventive way to see through Klara’s eyes. They are praised for making her processing tangible.

Tom Harper is frequently praised for confident staging, visual control, suspense, and explosive set pieces. A few reviews fault specific tonal or narrative choices even while admiring the filmmaking.

Waititi’s broad comic instincts repeatedly interrupt material that calls for patience and emotional restraint. A smaller group welcomes his warmth and playful approach.

The score is repeatedly praised for building dread, atmosphere, and intensity, especially as Tommy’s return pushes the film toward its climax.

The score divides viewers between captivating electronic-and-vocal textures and exemplary magic on one side, and excessive, emotion-forcing sweetness on the other.

The film’s grief-heavy, introspective drama gives Tommy’s final chapter weight for many viewers, though its persistent misery and brooding occasionally overwhelm the entertainment.

The family drama often feels flat or dull, and comedy repeatedly interrupts its attempts at gravity.

Legacy, grief, trauma, memory, family inheritance, and self-definition give the film substantial thematic weight. Critics who resist the movie argue these ideas are compressed, overplayed, or left insufficiently explored.

Artificial consciousness, genetic enhancement, love and mortality supply rich possibilities. Most criticism centers on how briefly these ideas are explored before the story moves on.

The film’s cold-blooded, stylized violence generally fits the franchise’s appeal and is often balanced with swagger or dark humor, though it can edge into grim excess for some viewers.

Violence against humanlike robots can feel disturbing and poorly integrated with the gentle humor. Critics question the film’s failure to take that cruelty seriously.

The film restores the show’s swagger, music, visual language, and callbacks, satisfying many longtime fans. Others see missing characters and major legacy decisions as betrayals of the series’ established arcs.

The adaptation often preserves story elements while losing the novel’s restraint, interiority and ambiguity. A few consider it respectful, but dissatisfaction with the tonal translation dominates.

Dark comedy—especially the Garrison grenade sequence and father-son mud fight—provides welcome relief from the gloom. A few detractors find some of the comic touches cheesy rather than sharp.

Gentle character comedy and a few supporting turns land, but many jokes feel forced, repetitive or badly timed around serious moments.

The ending is intensely divisive: many call it fitting, powerful, or even perfect closure for Tommy, while others believe it needlessly overturns the stronger symbolism of Season 6.

The final act is frequently described as rushed, overloaded or emotionally unearned. Some find a touching bittersweet message, but many leave frustrated by unresolved threads.

Some newcomers report following the story surprisingly easily without heavy recaps, but other reviews point to shaky logic or exposition that does too much work.

Some story connections and world rules are hard to follow, keeping the narrative from making full use of its performers.

The romantic material fares poorly, with Tommy’s sex scene described as cheesy rather than convincing.

Josie and Rick’s tentative romance can feel unusually natural and sincere. It also receives too little time and leaves important feelings unresolved.

The strongest readings focus on legacy, self-definition, family, and the cost of valuing power over people. One severe critic felt the film squandered the larger sense of purpose built around Tommy.

The idea that love makes people irreplaceable can be beautiful and moving. Critics more often find the message obvious, hollow or hammered home.

For supporters, the film delivers grief, regret, family conflict, and a powerful farewell with real force. Detractors found key deaths rushed, contrived, or too hollow to land.

Klara’s devotion can be touching, and several viewers find the film deeply moving. More often, forced sweetness and jokes prevent the grief from feeling earned.

Tommy’s reckoning with grief and Duke’s struggle with his father’s legacy work for many reviewers, but the compressed format leaves several supporting characters—and, for some, Duke himself—feeling thin or underdeveloped.

Klara’s human companions often lack the background and development needed to explain their choices. The mother-daughter relationship and Rick’s late importance are recurring weak spots.

The sombre, gothic, highly stylized mood works for some as a fitting final chapter, but others find the film tonally off, overly miserable, campy, or caught awkwardly between old and new Peaky Blinders.

Whimsical comedy, family grief and darker science fiction repeatedly collide. The abrupt transitions are the film’s most consistent weakness, though a few viewers enjoy the blend.

The cinematography is the clearest consensus strength, praised for striking light, shadow, mud, rubble, wintry landscapes, and a genuinely cinematic sense of scale.

Golden landscapes and rich color are beautiful to many viewers. Others find the yellow filters, glossy finish and relentless prettiness bland or oppressive.

The core legacy-and-war story is compelling and emotionally satisfying for many reviewers, but others call the movie unnecessary, thin, half-baked, or unable to justify rewriting the series’ prior ending.

An intriguing companion-robot premise struggles with predictable turns, disconnected episodes and setups that never pay off. Admirers respond more to its warmth than its construction.

The script earns credit for themes, twists, and some strong dialogue, but criticism is substantial: exposition, clichés, rushed character work, and compressed plotting repeatedly surface.

The script raises intriguing questions but often explains them through heavy exposition, drops promising threads and leaves character motives thin.

Dialogue receives mixed marks: some reviewers praise sharp lines and economical exposition, while others call it simplistic, clunky, corny, or overly explanatory.

Expository speeches, awkward lines and conspicuous film references frequently replace natural conversation. Characters can sound like the same comic voice.

Hazy reverie-style editorial cuts are criticized as visually cheesy and as interruptions to the otherwise painterly presentation.

A repeated visual edit enhances Klara’s physical quirks, but abrupt cuts elsewhere can make major story transitions feel incomplete.

At roughly feature length, the movie often feels too compressed for the number of character turns and plot developments it attempts. Several reviewers explicitly wish the story had been a season or miniseries instead.

The film often feels longer than its runtime, especially when its length fails to produce deeper development. One warmer response finds it moves smoothly.

Pacing is the most consistent weakness: the first half is repeatedly described as slow or drawn out, while the later material can feel rushed as too much story is compressed into feature length.

Several viewers find long stretches sluggish even as important relationships and the final act rush by. A few find the near-two-hour story smooth.

Murphy and Keoghan’s father-son dynamic is often described as raw, magnetic, and powerful. A smaller group felt the pair never generated the expected sparks or emotional bond.

The young leads and Rick often share natural, appealing rapport. Other assessments find the relationships too thinly developed to establish proper chemistry.

Period immersion is weakened for some by modern-looking styling, oversized stakes, and questionable wartime plausibility. The film’s stylized mythmaking of Tommy also draws skepticism.

An implausible household setting, contrived behavior and unresolved technological logic make the world difficult to believe.

The central comeback structure, Nazi scheme, and legacy conflict are often described as familiar or clichéd, with several critics saying the film rarely finds a genuinely new plot shape.

Many find the robot story and its borrowed influences overly familiar. Others admire the future’s inventive visual conception.

Aggregated critical reaction is broadly favorable but not uniform, with enthusiasm for craft and performances tempered by repeated complaints about pacing, script compression, and sequel necessity.

Reception coverage reports overwhelmingly harsh early critical responses, including repeated one-star assessments.

Longtime Peaky Blinders fans are the clearest audience, especially for the callbacks and emotional closure. Reviewers disagree on newcomers: some found the film easy to follow, while others strongly recommend watching the series first.

The film’s mixture of juvenile comedy, dystopia and grief struggles to find a clear audience. It can feel too childish for adults and too dull for children.

The cast is one of the film’s safest bets: even many negative reviews praise the performances, with the central actors repeatedly credited for elevating uneven material.

Performances divide opinion sharply. Supporters find the cast warm and convincing, while detractors describe mannered acting and talent constrained by weak material.

Modern-rock needle drops remain a signature strength and are widely praised for driving emotion and atmosphere. A few reviewers find the choices dated, overly loud, or less appealing outside the iconic theme reprise.

Effective needle drops earn praise, while one conspicuously abrasive party cue is singled out as unpleasant.

Cillian Murphy’s return as Tommy is overwhelmingly praised for its weary stillness, menace, grief, and emotional control; even harsh critics routinely identify him as a major strength.

Ortega’s precise movements, expressive face and earnest warmth are frequent highlights. Some find the same wide-eyed quirks repetitive or too cartoonish to make Klara feel fully alive.

The supporting ensemble is generally considered strong, particularly Keoghan, Roth, Rundle, Graham, and Ferguson. The bigger complaint is often that the movie underuses them or gives their characters too little depth.

Tharia, Murphy, House and Lyonne provide welcome warmth or comic relief for many viewers. Adams draws especially divided reactions, ranging from moving restraint to stiff disengagement.

Rewatch interest is sharply polarized: one enthusiastic reviewer immediately wanted another viewing, while several detractors say they would not revisit it and even feel it harms the series’ rewatchability.

Weak pacing and wasted potential leave one viewer firmly unwilling to watch it again.

Reactions range from gripping, highly enjoyable fan service to dull, hollow, or unnecessary viewing. A common middle ground is that the movie becomes much more entertaining after its slow first half.

Enjoyment ranges from heartwarming fun to an irritating slog. Even several qualified recommendations rest mainly on Ortega’s charm.

The visual presentation is consistently celebrated: smoky interiors, chiaroscuro lighting, slow-motion swagger, period grime, and large-scale wartime imagery make the movie look distinctly cinematic.

Retro colors, expansive fields and pixelated robot vision give the film a distinctive look. That heightened style can also feel sugary, cluttered or disconnected from its darker world.

The return of Tommy’s tailored Peaky Blinders look remains a major visual pleasure, with covetable coats and sharp suiting earning praise. One review found Duke’s modern-looking styling immersion-breaking.

Costumes range from strikingly inventive to ugly and distracting. The deliberately exaggerated future fashions can overwhelm the characters wearing them.

For supporters, Birmingham and the Peaky underworld feel convincingly restored and expanded into wartime. Critics miss the old ensemble and argue the newer, thinner supporting world makes the film feel smaller than the series.

The postwar setting and genetic hierarchy spark curiosity, but important rules and social pressures receive little explanation. Some prefer its accessible storybook approach to denser exposition.

The soundscape can feel forceful and theatrical, with one review highlighting Dolby Atmos impact and another calling the sound design incredible. A major dissent criticizes an aggressive music-to-dialogue mix.

The blend of score and well-chosen songs creates a pleasant listening experience in one positive assessment.

Blitz-era Birmingham, grime, rubble, docks, pubs, and warehouses are generally rendered with impressive tactile detail and scale. One negative review thought parts of the production looked like a soundstage.

The decorated house, open fields and retro-futuristic details are recurring visual strengths. A few find the dainty design too artificial to establish a believable society.

The action lands best once Tommy returns to Birmingham, with the pub confrontation, shootouts, explosions, and finale frequently singled out. Critics who wanted more momentum found the action too delayed or the climax predictable.

Klara’s later decline is explored through a montage that feels dark, eerie and affecting, briefly making her altered experience of time compelling.

A sustained uncanny atmosphere makes Klara’s surroundings feel strange, new and exciting.

Ortega is considered ideal casting by one enthusiastic viewer. Adams is repeatedly judged a poor match for the mother’s role.

Buscemi, House, Adams and Rick’s story are each described as underused in different assessments. The uneven allocation of time limits relationships that could have strengthened the film.

The enhanced children can expose class cruelty effectively, yet exaggerated caricatures often bury the social commentary. Questions about value and privilege are raised more readily than explored.

Recognizable movie references feel more like borrowed decoration than a thoughtful conversation with earlier cinema.

The collaboration with Waller is praised for deepening the writing and adding a valuable female perspective.

Tommy’s spiritual and gypsy side is praised as one of the most worthwhile expansions of his character in the film.

The mother-daughter relationship can feel authentic in the actors’ best scenes, yet often lacks warmth, context and a convincing emotional history.

Klara’s limited perspective can invite discovery alongside her. Widening that viewpoint is also criticized for weakening the story’s focus.

Klara’s devotion to Josie supplies much of the film’s warmth. Their friendship nevertheless receives too little shared time for many viewers to believe its full emotional weight.

As a gangster-period-drama send-off, the movie retains much of the show’s identity and pulp energy. Several critics still feel it plays more like an extended television episode than a fully realized feature.

The treatment of grief is deeply affecting for some, but many find it superficial or diluted by whimsy. Chrissie’s losses rarely receive the quiet development they need.

Lyonne’s conspicuous wig is criticized as bizarre and distracting.

The recurring one-leg gag delights one viewer but tires others, who find the repetition ineffective.

Light can beautifully express Klara’s sense of life and faith. Excessive glow and lens flare also make the visual sweetness tiring.

The photography can drain New Zealand’s striking locations of personality and a convincing sense of place.

Ortega’s controlled movement can make Klara convincing and funny. The surrounding slapstick often strains for laughs or interrupts the drama.

Most revelations are signposted too clearly to surprise. One darker turn briefly adds intrigue, but the larger payoffs often disappoint.

The women offer varied, resilient characters with hidden warmth, giving one viewer a compelling range of female perspectives.

Klara’s prayers and solar devotion can be beautiful expressions of faith and sacrifice. Others find the spiritual arc reduced to a joke or an unconvincing act of fanaticism.

The eerie, supernatural-leaning material is praised as some of the eeriest material the franchise has attempted.

The sexual material draws a negative reaction because Tommy’s sex scene is viewed as cheesy and out of place.

Several set pieces generate strong tension and claustrophobia, especially the pub and tunnel material. Negative reviews say predictability weakens the climax and removes the sharper twists associated with the series.

Klara’s optimism is endearing to supporters and grating to others. The exaggerated, privileged schoolchildren attract particularly strong dislike.

The preview suggests some interesting possibilities, but does not stand out strongly among the films shown.

Reviewers appreciate the use of World War II events and the counterfeit-currency plot as historical grounding. Others question specific period details, plausibility, or the sentimental elevation of Tommy within wartime history.

The big-screen outing is framed as earned and worth paying for, with the theatrical presentation treated as part of the appeal.