Metacritic reviews

Without an establishing tone or style — the first scene sits there on the screen like a void — it can come off as trying to jump on some already-long-gone bandwagon.

Rockwell and Schwartz are basically doing their version of a Hope-and-Crosby road film. They play characters very familiar to an American audience and that is played against a British comedic landscape. The result it interesting to watch, but I think more for the Brits than its American counterparts.

It’s not a great movie, but it’s a good reminder of why Rockwell’s admirers have happily stuck with him for decades.

Despite a starring turn from Sam Rockwell (whose character arc boils down to mastering a Cockney accent) and a supporting performance that should help Phoebe Fox convert a small legion of new fans, this Blue Iguana is far less evocative of yesterday’s classics than it is of today’s direct-to-VOD dreck.

In absence of either good humor or good set pieces, Blue Iguana is a heist gone bust.

Blue Iguana makes the freshly minted Oscar winner (for his totally worthy performance in Three Billboards) work way too hard to cut through the film’s blatant stupidity and buffet of clichés.

Writer-director Hadi Hajaig was obviously shooting for a mid-1980s indie vibe along the lines of Jonathan Demme’s “Something Wild,” but aside from an overstuffed soundtrack that goes heavy on the B-52’s, there’s nothing particularly engaging or nostalgic going on beneath all the forced irreverence.

Blue Iguana strains to be antic in every joint, from gimmicky editorial and camera choices to a soundtrack cluttered with early ’80s New Wave tracks by the B-52’s, Violent Femmes, Only Ones — great stuff, but they can’t get a party started that’s already flatlined.

A hopelessly muddled, tedious exercise that barely manages an interesting moment despite its plethora of violence and gore. As usual, Rockwell gives it his all, but he's unable to rescue the film from being instantly forgettable.

From the characters to the purposely perplexing plot, it’s all hollow and artificial to the point of being downright grating. Blue Iguana is another exercise in sarcastic, self-referential, postmodern pulp whose time has so come and gone.