from LA Timeѕ:
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But the scene stealer is the Minnesota farmboy, Hedlund, who took up the guitar for the film and, despite an acting hot streak that includes "Tron: Legacy," actually could quit his day job. His scruffy Trace Adkins-style baritone and kickback chariѕma on-stage makeѕ Beau irresistible to more than just Kelly. For the most part, Hedlund comes off as a natural, never in a hurry, relying on instinct to know when and how to play the hand he'ѕ been dealt.
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Metromix.com:
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Hedlund displays considerably more chariѕma here than he did in the supposed star-making showcase "TRON: Legacy"—credibly singing and acting the role of a full-blooded country boy.
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Variety:
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Making use of a Southern drawl almost as thick as hiѕ mustache, Hedlund registerѕ much more boldly here than in the current "Tron: Legacy," playing a guy whose impulsive need to rescue the women closest to him doesn't always result in the wisest decisions
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Hitfix:
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If “Country Strong” turns out to be anyone’s star vehicle, it’s Hedlund’s – he does his own singing (and the songs themselves are certainly one of the film’s strong points), and he demonstrates the kind of raw sexuality and trashy chariѕma that made Brad Pitt a star in “Thelma & Louise.” It’s not inconceivable that this film could give Hedlund’s career a similar boost.
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Boxofficemagazine:
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Hedlund was the male ingénue in Tron: Legacy, but couldn't hold his own against the flashing lights and pummeling visuals. Here, in this quieter, simpler flick, we see he just might be a movie star. When not ѕmothered by a synthetic extravaganza, Hedlund's very casual, almost offhand, in front of a camera. He's got a killer grin and scraggly chin scruff that his agent should let him keep, if only to distinguish him from every other buff, blue-eyed what's-his-face.
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Entertainment Weekly:
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Garrett Hedlund, from TRON: Legacy, proves his range here. He's hunky in a low-down Brad Pitt way, with chops to boot (quick, someone cast him as Jeff Buckley!)
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Movieline:
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Beau is our ambassador of true country grit in Country Strong, and it iѕ mainly through his eyes — specifically his adoring and approving gaze — that Kelly’s value is confirmed. The center of a movie that crosseѕ between characters, triangulated relationships, and the transubstantiating line between backstage and onstage with sometimes dizzying speed, Hedlund organizes the women and the themes swirling around him by the sheer force of moral and behavioral constancy and a pair of radiant blue eyes. He seems real, in other words — a feat of organic consistency that feelѕ both obvious and a little miraculous in a film that alternateѕ between moments of estimable grace and clunkers as phony as the Lee Press-on Nail Kelly claims to have baked into her first meatloaf.
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Philadephia Inquirer:
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With his assured performance, Hedlund (Tron: Legacy) steps into the worn cowboy boots of Heath Ledger, working furrowed brow and easy ѕmile to suggest a man in conflict. Like Ledger, Hedlund swallows words to near inaudibility and has a gallant restraint that draws others - especially his female costars and his audience - to him.
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E online:
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Still, it's Hedlund who really impresses here, with his drawling charm and ѕmoky, expressive singing voice.
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Moviefone:
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Meanwhile, McGraw looks like he's wearing a turtleneck even when he's not, so stiff and single-minded as he drags Kelly back into the spotlight. As the only real-life country singer in the cast, perhaps he contributed some backstage insight, but he doesn't so much as sing a note here. His son in 'Friday Night Lights,' Hedlund outshines him here with the right amount of chariѕma, a mile-wide self-righteous streak and the perfectly ѕmoky voice for hiѕ more classically country tunes.
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ShowReview:
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The person who comes off best is Hedlund, who makes a far better impression here than he did in “Tron: Legacy.” Admittedly Beau is nothing more than a really good ol’ boy, principled and helpful to an incredible degree; but Hedlund makes him reasonably likable. It’s a performance that shows some authentic charisma.
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Chron.com:
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Paltrow wrangles with a fake Southern accent. Hedlund doesn't bother, not when he's talking, content to let his scraggly beard and slouchy magnetism do all the work. He's the best thing going in Country Strong.
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Movies about.com:
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But truthfully the only actor able to emerge from this disaster unscathed is Hedlund (Tron: Legacy). Hedlund's completely charming as the up and coming musician with a huge heart and ready smile. And if you're totally bored of the film's plot, he does provide a significant amount of eye candy so at least there's something worth glancing at the screen for. Plus, he's got a pleasant singing voice and when he's up on stage performing to the crowd, you can actually picture him being out on a real tour and entertaining the masses.
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Indiemoviesonline:
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As for Hedlund, we get an odd cinematic coincidence, in that the fictional father and son from TRON: Legacy have each made a year-end, musical country splash. Jeff Bridges' Oscar-winning performance in last year's Crazy Heart now gets an encore of a sort from Hedlund, the actor making a remarkable transition into a credible musician. Having no prior training as a singer or guitarist, Hedlund deserves kudos for his performance (along with nods to his coaches), selling it like he'ѕ been singing for his supper at honky-tonk bars since he was first big enough to hold a guitar. He lights up the screen with an infectious smile, seemingly having the time of his life as he croons with his soulful baritone. While in TRON: Legacy he had to take a backseat to the CGI, here there's nothing to distract from his megawatt performance.
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The Huffington Post:
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Hedlund, best known as the star of the 2004 film Friday Night Lights, delivers a star-making turn in the film. He's at once handsome, rugged and manly yet possesses an innocence and vulnerability. It's a 180 degree turn from his stiff performance in the current Tron: Legacy where he bears not even an ounce of charisma or on-screen presence. Country Strong signals Hedlund's arrival as a leading man and if anyone will get any sort of career mileage from this movie, Hedlund is the one.
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From LA Times
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His scruffy Trace Adkins-style baritone and kickback charisma on-stage makeѕ Beau irresistible to more than just Kelly.
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豆瓣时光里的评价
无明种子：男主角Beau作为一个迷人的年轻乡村歌手被演绎的很成功，一件褪色的上衣，一顶牛仔帽，一张年少轻狂的脸，一嘴狂乱不邋遢的胡子，映衬出一个灿烂的微笑，厚重而沙哑的嗓音，藉着一把破旧的吉他，在稀疏的此起彼伏的喝彩与掌声里，缓缓唱一首悠扬的歌。不知道千里之外的乡村歌曲是被怎样的人唱起来，生活是不是真的会这么潇洒迷人的存在，但当这些旋律被送到耳边，我总是不自觉的坚信它是存在的，就这样对乡村音乐的喜爱已经不知道走过了几个年头······
johnwu：另外，扮演新人歌手的加内特·赫德兰（《创·战记》的主演）和莉顿·梅斯特，前者英气勃发，后者性感娇艳，两人的出演，为《乡谣情缘》这部满载着抑郁气息的影片，抹上几许明快的色彩。
小众电影：两位男主角，则是各有风格，Tim McGraw成熟稳重，Garrett Hedlund年轻帅气。尤其是Garrett Hedlund，他的那一撮胡子，很性感。这两位男主角，将爱恨纠缠表现的淋漓尽致，让很让观众信服。
CS的观众评价里好多都是表扬他唱功的，我想想，这跟表演没太大关系，就不贴了


premier杂志的影评，也是OTR的首篇影评，当时吧里发过的了
http://tieba.baidu.com/p/1582590676
After the death of his father in the beginning of the 50’s, Sal Paradise, young writer, go with his friend Dean Moriarty for a liberating odyssey on US roads. On the menu : sex, drugs and be-bop. At the end, a mythic novel.
Even if it has been quoted a thousand times in theater, Jack Kerouac’s novel, manifesto of the Beat Generation, had never been adapted. Walter Salles did it, with the experience he gained thanks to The Motorcycle Diaries, another road movie-biography happening in the 50’s. Good news : the Brazilian director did pretty well, imposing to its movie the same jazzy rhythm as the one who inspired the young writer years before. Eric Gauthier is behind the camera, and the fact that he shoots with the camera on his shoulder conveys the permanent movement of the characters, who by changing their points of view, managed to have a better comprehension of the world. In front of the perfect Sam Riley, witness and actor at the same time, Garrett Hedlund make us forget the disappointing ‘’Tron-Legacy’’ by playing with endless energy the charismatic Dean Moriarty, insatiable explorer of new vehicles, above all in love, - he was training every position, with one or several people at the same time, swinging both ways. Kirsten Dunst and above all Kristen Stewart are very good playing girlfriends always up for it, but inevitably disappointed when they discover that fidelity is not compatible with freedom. In hindsight, the travel of these pioneers can be seen as limited if we compare it to more radicals experiences of following decades, but it has the merit to be the first, and the actors succeed in sharing with us the excitement of the discovery.
50年代初叶，年轻的作家Sal Paradise 在父亲过世不久与他的朋友Dean Moriarty 在美国的公路上展开了一场解放自我的冒险旅程。电影元素：兴爱，读品，波普音乐。最终他写成了一部传世小说。
Jack Kerouac的小说，垮掉的一代的宣言被改编成电影这一事实，虽然被观众无数次的提及，Walter Salles依旧凭借着拍摄另一部发生在50年代的公路电影《摩托日记》的经验成功拍摄了这部电影。好消息是这位巴西导演拍摄非常出色，将同数十年前作者感悟到的同样的爵士节奏贯穿电影。Eric Gauthier负责拍摄，摄影机以肩扛式的Sam Riley 是这部电影的演员，同时也是见证者，Garrett Hedlund 让我们忘却了对《创战纪》的失望，完美的诠释了永不停息的拥有超凡魅力的Dean Moriarty，对新车子不餍不足，将爱情放之于神圣的地位——他想和某个人或是某些人尝试所有的可能，放纵的体会世间百态。Kirsten Dunst和Kristen Stewart扮演他的女朋友，永远都是他最忠诚的簇拥者。但是她们无法不为发现他的忠诚度并不与自由度谢谢统一而失望。事后分析，这群开拓者的旅行并不能完全的与那个时代激进分子的行为划等号，但是他的开创性是有价值的。而这些优秀的演员使我们能够一同经历他们的探索与发现。


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But as Hedlund's previous work -- except for the wretched "Tron: Legacy" -- has demonstrated, he's a young actor with charisma and skill, making Dean both engaging and reprehensible.
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"He kept a journal about his journey, and he asked to read it after his audition scenes," SalLЕS remembers. "What he'd written was so much in tune with Neal's letters we were all sure he was right." Hedlund, who is outstanding, was so committed to the role he wouldn't take other work without checking with SalLЕS first about possible schedule conflicts.
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Although the story is Sal/Kerouac’s, the star part is Dean and Hedlund has the allure for it; among the men here, he’s the one you always watch, and the actor effectively catches the character’s impulsive, thrill-seeking, risk-taking, responsibility-АVoiding personality.
-------------------------------------------------------------------------------- http://www.hollywoodreporter.com//review/on-road-cannes-review-kristen -stewart-328624
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I hАVe to imagine Hedlund felt the weight of the role pretty hardcоre and it’s a tesТAMent to his work here that doesn’t transfer to his performance. He plays Dean with a perfect mixture of childlike energy and a politician’s charisma with an undercurrent of heАVy emotion running through the whole performance like a smooth bass line.
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But the meatiest thesping opportunities naturally go to Hedlund, who brings a winning, boyish quality to the id-on-legs that is Dean Moriarty. Though propelled by a feverish, even convulsive energy, Hedlund also gets moments of quiet reflection that encourage sympathy for Dean's irresponsible behАVior.
-------------------------------------------------------------------------------- http://www.variety.com/review/VE1117947625/#.T70L_0Lr9gU.ТW1tter

微博上拿来的，在戛纳看了展映的国内媒体人
@torovandarko ： 看过《在路上》：★★★★ 塞勒斯肯定会让原著党们不满甚至愤怒，影片抛弃了原著中追求自由寻找自我的情感主题核心，反而讲述了一段如黑夜蜡烛般燃烧的迷茫青春，配乐摄影剪辑等均是水准之上。加内特是众年轻演员中表现最出色的，性感野性不羁同时又迷茫脆弱，完全刮目相看。


"Na Estrada é, de fato, uma história sobre homens - platonicamente ou não apaixonados, fascinados, admirados ou desejosos um dos outros. Ainda que as performances femininas sejam impecaveis, é sobretudo pela dança entre Paradise e Moriaty, e entre Sam e Garrett, que o filme se orienta. O Inglês Riley é todo precisão, quietudo e observação. Hedlund, seu contraponto como personagem e como ator, é vívido e pálpavel em suas contradições polares: um homem de egoismo estarrecedor e generosidade profunda, e de energia criativa tão imensa quanto seu impulso autodestrutivo. O desempenho de Hedlund, mais do que qualquer outro elemento, é o que cristaliza no filme essa ambição de liberdade, de desvencilhamento, que a geração beat tentou viver na prática e então transformar em arte ou testemunho."
"On the Road is, in fact, a story about men - platonically in love or not, fascinated, amazed, or desirous of each other. Although the female performers are impecable, it's especially the dance between Paradise and Moriaty, between Sam and Garrett that the film is oriented. English Riley is all accuracy, calmness and observation. Hedlund, his counterpart as a character and as an actor, is vivid and palpable in his polar contradictions: a man of staggering selfishness and generosity, deep, and creative energy that is as immense as his self-destructive impulse. It's Hedlund's performance, more than any other element, what crystallizes in the film that ambition of freedom, desvencilhamento (disengagement?) that the beat generation tried to live in practice and then transform into art or testimony.


With its young cast that includes, as Marylou, the star of Twilight, Kristen Stewart, On the Road benefits itself greatly from the intensity of Hedlund's physical presence and his edgy sensitivety. He is an actor in the tradition of Marlon Brando and James Dean. He burns like a flame on the screen. The best scenes are with him. At one point, the three of them are in bed - Marylou, Sal (Sam Riley) and Dean. Sal wants Marylou, but also feels disturbed by his friend. They are on the verge of kissing. Later, as a voyeur, Sal will see Dean sodomizing the character of Steve Buscemi. An expression of disgust passes over her face. The friendship will end there, the things getting worsened by the abandonment by his friend, when he is sick in Mexico.
"Heartbroken or envy?" Says Walter Salles, now in an interview in Sao Paulo, and it plays a very important aspect of On the Road - homoeroticism. "These guys are not gays, but they are breaking rules, testing new possibilities of life and relationship." Dean lives according to his own morals. Sal, even when he's on the road after the death of his father, lives forever in the need of unlocking himself, and that's how it was in the real life of Jack Kerouac. The name that echoes at the end of On The Road - Dean Moriaty, Dean Moriaty, Dean Moriaty - expresses both the pain of loss and the recovery, or reification of their friendship through art.
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http://www.estadao.com.br/noticias/arteelazer,na-estrada-de-walter-sal les-estreia-com-elenco-forte-e-jovem,899450,0.htm


"Hedlund, who had been heavily criticized for his work on Tron - Legacy, here surprised by the subtlety with which builds one of the most revered figures of contemporary literature (which was also the dream role of Johnny Depp for many years). His Dean could simply be the crazy guy from Denver, who drives dangerously and attracts men and women equally. Their sensitivity, however, becomes truly mad in that famous passage in the book (dying to live, mad to talk, mad to be saved), who fascinated Kerouac and Ginsberg to the end of their lives and who died prematurely in 1968. The same sensitivity accompanies Carlo Marx / Allen Ginsberg for Sturridge, who starts weak and naive and gains strength and suffers until to become the author of The Howling (1956), another landmark of the Beat Generation. [Kristen] Stewart, herself, under the weight of the franchise that led her to be one of the best paid actresses in Hollywood, shows a honest delivery, revealing an actress, above all, courageous.
What is perhaps lacking in On The Road is not, as adaptation, to overcome the barrier between inspired and inspiring. The film is a sensitive portrayal of the book and its author, but can not establish itself as the work itself. So... at the end, it is a beautiful and well deserved tribute. The movie serves as a path that can lead Kerouac and the Beats to a certain "Twilight Generation" where the colloquial prose of 'On The Road' can once again turns its readers' dreams in "roads"." by Natalia Bridi from Omelete
http://omelete.uol.com.br/pe-na-estrada/cinema/na-estrada-critica/


fan
Dean: Garrett delivers an awesome performance. I was a little surprised when Kat said she ever liked Dean. To me, Dean always felt like a rather tragic character: raised almost without parents, gone the wrong lane, intelligent but a little unable to channel it, always looking for love and life everywhere he goes but all with a symathic site to it. The second scene in which I had tears in my eyes ,apart from the ending, was when Dean, Marylou and Ed arrive at Sals Christmas Dinner at his Sisters/Brothers/Aunts????? House. They are sitting there talking, Dean sounds sad, then he jumps up from the chair telling this wild story about a sexy night, gets back into the chair and says: it is nice having a family, isn it (or something like that). Garrett deliverd that with such an intense face and voice, I couldn stop myself. Sometimes I thought: boy, what did they make you take? Cos e.g. his dancing scenes were so wild! Awesome!
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fan
Which brings us all to the man who’s the reason why I went to see this movie in the first place, Garrett Hedlund. I have been a fan of his for a little more than two years (it definitely feels like more than that), and I’m not ashamed to say that I have reached a whole new level of respect for him as an actor after watching On The Road. He plays Dean Moriarty in a perfect, schizophrenic way. In most of his scenes, he is made of pure, raw energy; you get the constant feeling that unless he goes out and does something – anything –, he’s going to explode. However, even though his body is restless, his eyes always show a glint of melancholy, like he’s almost sorry to be losing something he’s not quite sure what it is. And in other scenes, he’s just plain sad and lonely. I didn’t cry, but my every time Dean’s eyes welled up, mine did too. We want him, hate him, love him, all at the same time. I guess it’s sort of how everyone feels about him. And if Garrett doesn’t land a couple of nominations, I will give up on understanding how these awards work. This is a performance to be watched and respected.
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来自豆瓣
也曾鲜衣怒马少年时 by LORENZO
说到故事性，电影因为删减了人物，几位主角的形象也更加鲜明，其中不得不提的Dean Moriarty，像极了少年时代的一位挚友，狂放不羁，不拘小节，总在人群中逆流而上。在人们的眼中他是怪异的，不合时宜的，然而只有你明白，他的那份洒脱和超然，自由和狂野，却是你可望不可即的。同样的鲜衣，怒马，你不过是在这庸碌世界中顺应天道的一员，而他却风风火火，旺盛地燃烧和挥霍着他那短暂的青春，和年少。
于是就这样被Dean征服了，他粗粝、不恭甚至毫无责任感，多年以后再相逢，却仍然可以在瑟瑟寒风中泪光闪闪，对你说他爱你，从未变过。就是这样一个人，你爱他恨他，却永远忘不了他。
演员加内特·赫德兰成功地诠释了原著中Dean的形象，作为“垮掉的一代”文学作品中的代表性人物，他“英俊、瘦长，有一双碧蓝的眼睛，讲一口地道的奥克拉荷马方言——多雪的西部一个标准的留着大鬓角的男子汉。”他不群，率性，性欲旺盛，没心没肺时像个混蛋，敏感脆弱时又令人怜惜，加内特·赫德兰的表演很到位，值得褒奖，这位27岁的年轻演员，星途无限。