Metascore
42

Mixed or average reviews - based on 10 Critics

Critic score distribution:
  1. Positive: 3 out of 10
  2. Negative: 4 out of 10
  1. Against All Odds is so lively and enjoyable on its own terms that its genre problems, while real, are easily overlooked. Mr. Hackford's brand of glossy, romantic escapism doesn't have to work as an homage. It has a vitality of its own.
  2. 75
    There is a lot of plot in this movie - probably too much. The best thing to do is to accept the plot, and then disregard it, and pay attention to the scenes of passion. They really work.
  3. Reviewed by: Staff (Not Credited)
    70
    If not for a somewhat murky and misanthropic ending, Against All Odds would stand as a well-engineered second-try at 1947's "Out of the Past."
  4. Reviewed by: Jay Carr
    50
    It begins promisingly.... But the film has no center, succumbs to drift, and gets away from Hackford. [03 Mar 1984]
  5. Reviewed by: Ian Nathan
    40
    This is about as noir as Pete’s Dragon, best to accept its superficiality as a boon - Hackford, at least, gives it a slick exterior - and enjoy it is a vacuous thriller and extended Phil Collins video.
  6. The story wanders unconvincingly and tediously into corporate law offices and big, splashy nightclubs. Still, Mr. Hackford has the documentary maker's eye for realistic detail, so it all looks right. [01 Mar 1984]
  7. 30
    Little remains of the original but its weakest element - its overelaborate intrigue - and Hackford seems only to scramble it further.
  8. Reviewed by: Staff (Not Credited)
    25
    Not even a bravura performance from Woods, some steamy love scenes between Bridges and Ward, and a thrilling daylight car chase down Sunset Boulevard can pull this confusing remake out of the doldrums.
  9. The film is a howler of illogical, overwrought emotion, inexplicable actions and sudden bursts of bloody violence. [03 Mar 1984]
  10. Reviewed by: Richard Schickel
    20
    The result is a flat, dumbly brutal movie, full of overplotted complexity and empty of all emotional resonance, except that provided by the presence of Jane Greer (the original film's dark lady, here doing a supporting role) and Richard Widmark.

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