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75A cynical, savage satire about violence, the media and depravity. It doesn't have the polish of "Natural Born Killers" or the wit of "Wag the Dog," but it's a real movie, rough edges and all, and not another link from the sausage factory.
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75The surprise here isn't that 15 Minutes isn't a masterpiece; it's that the movie works at all.
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75The picture is more impressive as it goes along, revealing a symmetry of construction underneath the rudiments of a thriller.
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70Boasts a fine cast and makes enough cogent points that it rises above standard cop fare.
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70It's a fast, entertaining ride.
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70Both audacious and unwieldy, exciting and excessive, this dark thriller is too long, too violent and not always convincing. But at the same time, there's no denying that it's onto something, that its savage indictment of the nexus involving media, crime and a voracious public is a cinematic statement difficult to ignore.
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70A first-rate Hollywood entertainment--at least if one can accept the schizophrenia of combining a cop/buddy action thriller with an angry satire about the shamelessness of the media.
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63In a season mostly given over to unwatchable movies being cleared off studio shelves, it's at least about something. And there's no denying the lurid urgency with which it jumps off the screen.
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60Big, loud and lurid, but no less entertaining for that.
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58A fairly hypocritical exercise -- and one that's so flamboyant and overbearing that it comes perilously close to being a classic awful.
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50The premise is promising, but Herzfeld cares more about sensationalism than substance, and portions of the picture are far nastier than they had to be.
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50The Czech Republic and Russia, the respective homes of Emil and Oleg, should sue.
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50Less the blistering satire it imagines itself than a blustering, bloody, blundering melodrama about bottom feeders nibbling each other.
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50Less a movie for intelligent moviegoers than a suggestion that we're all brainless chickens.
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40Herzfeld's sophomore movie is one long howl of rage over the relationship between criminals, journalists and thrill-hungry audiences.
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40A thriller more contrived than it is exciting.
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40Too busy trying to make remarks to be much fun in the end. But it really only has one remark, which it reiterates about a thousand times, and it's not all that remarkable: Fame is overrated.
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38Works just fine as a generic but fast-paced - and rather ugly - cop buddy flick.
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38Clumsy urban thriller.
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38The unearned air of moralism that wafts through 15 Minutes pollutes its entertainment value.
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30Herzfeld also wrote the screenplay, and so its leaden and obvious tone and the resulting dearth of delicacy rests squarely on him.
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3015 Minutes settles into Richard Donner-style goulash.
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25It takes a concerted effort to make a movie as relentlessly stupid and grating as 15 Minutes.
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25It's the poster child for bad taste, not to mention bad construction.
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25Is less an end in itself than an excuse, a jumping off point for showy, contrived, borderline exploitation sequences that fail to tie together because they're not really there to do anything but sell themselves as money shot thrills.
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20John Herzfeld, the writer-director, attacks America's lust for voyeuristic sensationalism by aping the very tactics he decries.
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2015 Minutes is simply a bad movie.
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20It's fleet- footed, merciless entertainment. But the mixture of laughs, bathos and brutality is a big turnoff.
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20They (De Niro, Burns) look good together. But what a staggering pity they chose such a nasty, hackneyed movie to demonstrate their chemistry.
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0Isn't just rotten -- badly acted, badly written, badly conceived -- it's dead inside.
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0It all adds up to one of the most brazen pieces of blame-shifting in exploitation-picture history.
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0If Detroit had produced an equivalent lemon, we might have been seeing the world's first one-wheeled, square-tired car with no cooling system, steering wheel or brakes.
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User score distribution:
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Positive: 3 out of 8
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Mixed: 2 out of 8
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Negative: 3 out of 8
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