Metascore
67 out of 100

Generally favorable reviews - based on 30 Critics

Critic score distribution:
  1. Positive: 19 out of 30
  2. Negative: 1 out of 30
  1. Reviewed by: Gene Siskel
    100
    A brash romantic comedy that has a serious purpose at its core.
  2. 100
    Smart, funny and often viciously cruel, this is a romantic comedy for people who are too old to believe in fairyales but wise enough to accept a happy ending when that's what life gives them.
  3. In As Good as It Gets, his (Brooks) mastery of the nuances of language and emotion has turned the most unlikely material into the best and funniest romantic comedy of the year.
  4. What Brooks manages to do with them as they struggle mightily to connect with one another is funny, painful, beautiful, and basically truthful--a triumph for everyone involved.
  5. Reviewed by: Graham Verdon
    90
    Nicholson is near-perfect as he slowly allows callous cruelty to give way to vulnerability in one of the most original, idiosynchratic roles of the year.
  6. Reviewed by: Mike Clark
    88
    It's a case of actors and strong writing coming together, and it's uncommon in contemporary movies.
  7. Reviewed by: Jay Carr
    88
    Nicholson, Hunt, and Kinnear will win you over as they turn the film into a valentine to New York's walking wounded.
  8. 80
    As funny as it's got all year. Manipulative and calculating? Sure. Submit! Enjoy!
  9. Reviewed by: Stephen Thompson
    80
    It all adds up to a compelling, deftly executed film that thoughtfully examines the actions and motivations that draw people together, directing their uneasy relationships.
  10. Reviewed by: Tom Keogh
    80
    Over the course of two-and-a-half hours, the film not only gets up on wobbly legs but learns to dance by the closing credits.
  11. 75
    There's so much good here, in the dialogue, the performances and the observation, that the movie succeeds at many moments even while pursuing its doomed grand design.
  12. Reviewed by: Ruthe Stein
    75
    The movie often verges on being too much; Brooks' supreme balancing act is to keep it all under control.
  13. 75
    Not a positive triumph, but it does bring a smile to the face and, perhaps in some cases, a tear to the eye.
  14. The result takes the audience on a screwball odyssey that mixes engaging twists with off-putting turns -- often fun, always watchable, but never quite as good as it could be.
  15. 75
    You'll laugh and cry at the film, but you'll bridle, too, at Brooks' clumsy technique.
  16. 70
    Appreciate it instead as an exceedingly well-crafted fairy tale, alive with eccentric, overdrawn Dickensian characters and irresistibly wholehearted sentiment, and you'll enjoy perhaps the most accomplished and satisfying work of Brooks' career as a middlebrow entertainer.
  17. Reviewed by: John Hartl
    70
    Even as you question the central premise, Brooks makes you want to buy into it.
  18. Reviewed by: Mary Brennan
    70
    It may be a very good, very Brooksian sitcom, but it's accomplished entirely with the broad strokes and resolutely flat surfaces of television.
  19. A cute premise that, upon closer inspection, rings falser rather than truer. It's pretty good, but not nearly as good as Brooks gets.
  20. 60
    Billed cleverly as a comedy from the heart that goes for the throat. If only Brooks had had the guts to avoid the schmaltz.
  21. Reviewed by: Janet Maslin
    60
    Wicked, but it works.
  22. Reviewed by: David Ansen
    60
    As Good as It Gets works: by the end you'll no doubt be won over by its cranky hero. But for those of us who cherish the quirkily unformulaic Brooks of old, it's a tainted victory.
  23. Reviewed by: Todd McCarthy
    60
    A sporadically funny romantic comedy with all the dramatic plausibility and tonal consistency of a TV variety show.
  24. Nicholson's over-the-top acting gives an entertaining edge to the plot's feel-good manipulations.
  25. Reviewed by: Dave Kehr
    50
    The material has no dramatic center, a problem pointed up by Brooks' failed solution to it -- his use of an ugly-cute little dog, Simon's pet.
  26. Reviewed by: Sandra Contreras
    50
    An overstatement. The movie's too long, and the direction is sometimes slack -- but the script is crammed with withering ripostes, ably delivered by Nicholson and Hunt.
  27. Gets bogged down in sentimentality, while its wheels spin futilely in life-solving overdrive.
  28. Nicholson, one of the best actors in American screen history, is miscast again… He is quite visibly uncomfortable in his role. It needed an actor who could easily be viciously stuffy, like William Hurt. Nicholson struggles for the core of the man but never gets it. [Feb. 2, 1998]
  29. In between all the laughs and tears, it becomes painfully obvious that there's not a whole lot of story here to prop up the constant emotional yanking.
  30. Reviewed by: Michael Sragow
    20
    Experiencing this movie is a little like watching a manic-depressive's medication wear off.
User Score

Universal acclaim- based on 35 Ratings

User score distribution:
  1. Positive: 12 out of 13
  2. Negative: 0 out of 13
  1. 7
    I haven't watched it for soooo long...so I guess it is about time to do it again. Enjoyable indeed! A movie that I don't crazily love, but I like a lot! Unforgettable indeed. Full Review »
  2. The first thing I asked myself after I saw this movie was - how good can Jack Nicholson, Helen Hunt, Greg Kinnear, and Cuba Gooding be? Can they be any better? Director James L Brook's speciality is exploring the human psyche, emotions and portrayals of these many emotions and parts. Nicholson's Melvin Udall is an obsessive-compulsive disorder, frantic and unstable-yet-stable in his ways in life. I liked how Hunt gave life to her Carol Conelly's single mom-waitress act. I was a tad disappointed at the way how Carol's new boyfriend starts to make out - it just didn't fit with the Carol I saw, the Carol who's working many shifts to ensure that she has the money to afford her little boy's asthma treatment, as well as making sure she can also afford the day-to-day finance of her house, where her mom also lives in. I enjoyed Kinnear's 'Simon the **** portrayal, his subtle movements, his manner of speech and delivery, and his physical presence. Cuba Gooding has a very few scenes in the movie, but is no less memorable. I somehow felt that the second half was a little dull compared to the first, but maybe that's because the early fun of seeing Melvin Udall's 'disgrace of a human being' starts to mellow out, and the actual evolution of the movie's plot begins to grow. The screenplay was just strong enough for the material and characters at hand. Obviously, one cannot take one's eyes off Nicholson whenever he's on the screen, whether explaining in such clever sarcasm to Greg about why he works alone at night, or handling Greg's maid, or even when Carol confronts him with the 'you crazy ....' after he tells her quite insensitively that 'we all die, and from what I hear, your son will too'. It's hilarious and its hurtful, but that's the best part - Melvin Udall is a single man, and it's because of a reason - he's just impossible to get along with. It's not for a lack of trying, it's just that he has never met anyone who could show him the mirror and pick out the flaws in his face. Enter Carol, let the movie take its course, and you'll see just how one can change when one is receptive to one's environment. "You make me wanna be a better man" isn't just your standard movie cliched lines, it actually is resonant of Melvin's feelings towards Carol, and it is deeply moving how their relationship evolves and grows. Melvin's attachment to Simon's dog over time is moving and natural. Melvin feels something inside and he is grateful that he has a visitor in his house, and it is disturbingly pleasant. I've seen this movie time and again, because it is Nicholson and Hunt at their very best, and Brooks' direction at its most truthful and honest core. Full Review »
  3. MelS.
    10
    This my favorite movie. Phenomenal actors portraying how hard it is, and how worth it is, to change.