Critic Reviews

• Dave Calhoun, Time Out

  Modest in means but rich in warmth, it's an eminently likeable film and all credit to Kerrigan for finding a new way of exploring the age-old story of dads and their boys.

• Derek Malcolm, This is London

  Kerrigan never quite gets the tone right and the film suffers from what looks like a lack of finance in certain areas.

• Rich Cline, Shadows on the Wall

  With a strongly nostalgic tone, Kerrigan gives this subtly understated thriller a provocative emotional kick. Despite a slightly contrived script, solid performances make the film both haunting and thoughtful.

• Philip Kemp, Total Film

  Justin Kerrigan's first feature since 1999's Human Traffic is based on his own relationship with his father; no wonder it's so harrowing and deeply felt.

• Xan Brooks, Guardian [UK]

  I'm not even sure it quite survives a calamitous opening half in which the script toils to prop up Charlie's increasingly ornate flights of fancy. But it is certainly ambitious and heartfelt, dappled with moments of ragged glory.

• Tim Robey, Daily Telegraph

  Fundamentally harmless, though it rather tramples on its own period authenticity -- why all the Steven Soderbergh-esque funk-scored heist sequences? You may be nonplussed.

• Jamie Russell, Radio Times

  Intrigues but doesn't satisfy despite thoughtful performances from Carlyle and Fuller.

• Ross Bennett, Empire Magazine

  It's a deeply personal tale defined by a sturdy turn from newcomer Fuller and Carlyle's compellingly unpredictable performance.

• Eileen Reslen, Sky Movies

  Kerrigan successfully captures a captivating father-son bond in an understated, but perfectly executed indie flick that never attempts to be more than the sum of its parts.

• Matthew Turner, ViewLondon

  I Know You Know has a rough-edged charm that works surprisingly well, despite the occasional flaw. Worth seeing, especially for the performances by Carlyle and Fuller.

• Anton Bitel, Eye for Film

  By dressing up his domestic tragedy as a boy's own adventure, Kerrigan somehow dilutes, rather than amplifies, the impact of both.

Read all 11 critic reviews