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Hannibal

Hannibal

Crime · Drama · Thriller · 2001

After having successfully eluded the authorities for years, Hannibal peacefully lives in Italy in disguise as an art scholar. Trouble strikes again when he's discovered leaving a deserving few dead in the process. He returns to America to make contact with now disgraced Agent Clarice Starling, who is suffering the wrath of a malicious FBI rival as well as the media.

Movie details

Hannibal

“His genius undeniable. His evil unspeakable. His name...Hannibal.”

2001 Crime · Drama · Thriller 2h 11m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

After having successfully eluded the authorities for years, Hannibal peacefully lives in Italy in disguise as an art scholar. Trouble strikes again when he's discovered leaving a deserving few dead in the process. He returns to America to make contact with now disgraced Agent Clarice Starling, who is suffering the wrath of a malicious FBI rival as well as the media.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Hannibal?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Ridley Scott

Written by

David Mamet · Steven Zaillian

Anthony Hopkins

Anthony Hopkins

Dr. Hannibal Lecter

Julianne Moore

Julianne Moore

Clarice M. Starling

Gary Oldman

Gary Oldman

Mason Verger

Ray Liotta

Ray Liotta

Paul Krendler

Giancarlo Giannini

Giancarlo Giannini

Insp. Renaldo Pazzi

Željko Ivanek

Željko Ivanek

Dr. Cordell Doemling

Frankie Faison

Frankie Faison

Barney Matthews

Court is in session

Put Hannibal on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Big-Idea Head

“Form is the argument.”

Every composed frame and deliberate cut is evidence that control can be thrilling in its own right.

The prosecution The Popcorn Loyalist

“Technique in search of a pulse.”

Immaculate construction is still construction. The film may be too busy proving its craft to feel alive.