| 80 |
Washington Post
Rita Kempley
An intriguing, visually startling murder mystery that showcases the virtuosity of Samuel L. Jackson.
|
| 75 |
New York Post
Lou Lumenick
Holds less water as a mystery because its plot holes - and choppy pacing - make it seem as disconnected from reality as its hero. But Jackson is so frighteningly effective, and affecting, as Romulus that you're sucked in anyway.
|
| 75 |
Philadelphia Inquirer
Carrie Rickey
So suggestively atmospheric is Amelia Vincent's cinematography and Robin Standefer's art direction that mood -- and of course Jackson's performance -- sustains the movie.
|
| 75 |
Chicago Sun-Times
Roger Ebert
To watch Samuel L. Jackson in the role is to realize again what a gifted actor he is, how skilled at finding the right way to play a character who, in other hands, might be unplayable.
|
| 70 |
Washington Post
Michael O'Sullivan
If anyone can sell the idea of ... some psycho "Sherlock Holmes," it's Samuel L. Jackson.
|
| 67 |
Entertainment Weekly
Lisa Schwarzbaum
There is pleasure in giving oneself up to the gusty swirls of the film's imagery, and especially to the handsome grandeur of its star.
|
| 67 |
Seattle Post-Intelligencer
Sean Axmaker
Never quite shakes itself free of the tired cliche that street people are quirky, sometimes cute, and somehow privy to a spiritual purity lost to us social folk.
|
| 63 |
Chicago Tribune
Michael Wilmington
The movie loses its magic by the time the solution is revealed.
|
| 63 |
Charlotte Observer
Lawrence Toppman
The details of the story, crucial in a picture that's at least partly a mystery, remain a tangled blur.
|
| 60 |
The New York Times
A.O. Scott
Works as everything but a mystery, yet it is intriguing in a number of ways. And the ending is as resolute as you might have hoped for. It lets Romulus and the movie retain their integrity.
|
| 60 |
TV Guide
Maitland McDonagh
Overall it's a frustratingly uneven movie, delicate at one moment and bluntly obvious the next.
|
| 60 |
Dallas Observer
Luke Y. Thompson
Deserves an A for ambition, but the final product is a pastiche of too many predecessors.
|
| 50 |
Boston Globe
Jay Carr
Dramatically speaking, The Caveman's Valentine is a dead end.
|
| 50 |
New York Daily News
Jack Mathews
Offers a dazzling showcase for Samuel L. Jackson.
|
| 50 |
Baltimore Sun
Michael Sragow
From the start, this movie sets the bar high -- then, unfortunately, runs smack into it.
|
| 50 |
Christian Science Monitor
David Sterritt
More psychological realism and less showy cinema would have made this offbeat melodrama more memorable.
|
| 42 |
Portland Oregonian
Shawn Levy
An unsteady and uneven film, which bangs up against its ambitions gracelessly and distractingly.
|
| 40 |
Slate
David Edelstein
You couldn't ask for a better pair of wild eyes than Jackson's.
|
| 40 |
Los Angeles Times
Kevin Thomas
As impressive as Jackson is and as thought-provoking as director Kasi Lemmons' movie is, it's ultimately satisfying neither as a genre piece nor as an art film.
|
| 38 |
USA Today
Staff [Not Credited]
Calling a cave of rocks home while spouting invective worthy of the Juilliard attendee he once was, homeless-by-choice Samuel L. Jackson worms his way into one of the least compelling mysteries in years.
|
| 30 |
Salon.com
Stephanie Zacharek
It hovers somewhere in that never-never land of movies that try to do too much and don't quite live up to any of their ambitions.
|
| 30 |
Chicago Reader
Reece Pendleton
Kasi Lemmons directed this tepid thriller, whose only genuinely creepy aspect is its cavalier and uninformed use of mental illness and classical music to heighten the meager suspense.
|
| 30 |
Film.com
Robert Horton
It may have a good liberal conscience, and genuine sympathy for the rare perspective of a homeless person, but this movie is a fundamentally sentimental exercise.
|
| 25 |
San Francisco Chronicle
Edward Guthmann
A wildly implausible thriller.
|
| 20 |
Time
Richard Corliss
Despite Jackson's typically bravura turn, this Valentine massacre marks a step backward for the gifted director of Eve's Bayou.
|
| 20 |
LA Weekly
Ernest Hardy
Especially disappointing that Lemmons, who in "Eve's Bayou" gave us insightful glimpses into the emotional world of black adults, has lost her balance, elevating formula over revelation.
|
| 10 |
Village Voice
Amy Taubin
Valentine isn't exploitative or trendy in the manner of so many indie films. Rather, it seems like the kind of art film that might have been dreamed up by a feverish high schooler.
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