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

  • 100
    San Francisco Chronicle | Edward Guthmann

    A first-rate crime thriller and further proof that Soderbergh is one of our great contemporary film stylists. Read full review

  • 100
    Entertainment Weekly | Lisa Schwarzbaum

    A small cubist masterpiece about crime and punishment set in that most split-level of environments, Los Angeles. Read full review

  • 88
    USA Today | Mike Clark

    One of those movies in which pacing, dialogue and the right actors enliven a familiar story. Read full review

  • 80
    Rolling Stone | Peter Travers

    A mesmerizing mood piece. Read full review

  • 80
    Los Angeles Times | Kevin Thomas

    A solid genre film that offers the satisfactions of the familiar while deriving its resonance through its specific and telling references to the '60s. Read full review

  • 75
    Chicago Sun-Times | Roger Ebert

    In its quiet and murderous way, it is like the delayed final act of an old movie about drugs, guns and revenge. Read full review

  • 70
    Washington Post | Desson Thomson

    (Stamp and Fonda's) polar-opposition in acting styles and temperament, their cultural differences and their pop-cultural synergy come together with almost delicious cacophony. Read full review

  • 70
    The New York Times |

    Among Soderbergh's widely varied films ("sex, lies and videotape," "Kafka," "The Underneath," "Schizopolis," "Out of Sight"), this one actually has the best chance of becoming anyone's sentimental favorite. Read full review

  • 63
    Boston Globe | Jay Carr

    Can't outrun its very visible limits. Read full review

  • 60
    Variety | Emanuel Levy

    One has no problem praising the bravura acting of the entire ensemble. Read full review

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