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Hudson HawkMovie Reviews

Poster art for "Hudson Hawk."

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Critic scores range from 0 to 100, with higher scores indicating more favorable reviews.

  • 38
    USA Today | Susan Wloszczyna

    It ends up choking on a never-ending stream of inept gags... A worst-case scenario of wackiness gone out of whack. [24 May 1991] Read full review

  • 30
    Wall Street Journal | Julie Salamon

    Despite all of its failures of wit, sense, and pace, the film does most effectively flaunt the millions spent on it. The inane action takes place in splendiferous settings. [23 May 1991] Read full review

  • 25
    San Francisco Chronicle | Mick LaSalle

    Just awful… There is probably not one interrupted 60-second stretch in which a line of dialogue doesn't clunk, an action doesn't ring false or an irritating plot turn doesn't present itself. [25 May 1991] Read full review

  • 20
    Austin Chronicle | Kimberley Jones

    Everybody figured producer Joel Silver and Willis couldn't lose and guess what? They all rolled craps. Read full review

  • 20
    Variety |

    A relentlessly annoying clay duck that crash-lands in a sea of wretched excess and silliness. Read full review

  • 10
    The New York Times | Elvis Mitchell

    A colossally sour and ill-conceived misfire. Read full review

  • 10
    Washington Post |

    Merely airheaded where it should be lighthearted, Hudson Hawk offers a klutzy, charmless hero, and wallows dully in limp slapstick and lowest common denominator crudeness. Read full review

  • 0
    Rolling Stone | Peter Travers

    A movie this unspeakably awful can make an audience a little crazy. You want to throw things, yell at the actors, beg them to stop. But the film drags on, digging horrible memories into the brain -- like Bruce Willis and Danny Aiello's singing. Read full review

  • 0
    Los Angeles Times | Kenneth Turan

    Even Willis seems a bit bewildered at times, as if asking himself how he managed to get into such a mess. [24 May 1991] Read full review

  • 0
    Entertainment Weekly | Owen Gleiberman

    This may be the only would-be blockbuster that's a sprawling, dissociated mess on purpose. It's a perverse landmark: the first postmodern Hollywood disaster. Read full review

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