| 100 |
Chicago Sun-Times
This is one of the best movies of the year.
|
| 100 |
New York Post
Glossy, big-budget thriller that qualifies as the season's biggest and most rewarding surprise.
|
| 90 |
Variety
Captures the excitement of lightning in a bottle.
|
| 80 |
Washington Post
Far richer than you'd ever think possible.
|
| 80 |
Slate
It's an elegant, civilized, and deeply liberal piece of craftsmanship, with the sort of social conscience you rarely encounter in a modern American thriller.
|
| 80 |
Chicago Reader
Sergio Mims
Jackson's portrait of impotent rage is tremendous, and Affleck, who drops his usual smugness, is surprisingly good.
|
| 80 |
The New Yorker
The plot, with its matched, escalating acts of revenge, may be a contrivance, but within that contrivance Changing Lanes plays earnest and well. [6 May 2002, p. 138]
|
| 80 |
Washington Post
Ann Hornaday
The movie goes for the throat and keeps squeezing.
|
| 80 |
The Onion (A.V. Club)
Out of that clever setup, Changing Lanes pulls both the promised taut suspense and a much deeper film: an ethics thriller.
|
| 80 |
Los Angeles Times
Frustrating yet deeply watchable melodrama that makes you think it's a tougher picture than it is.
|
| 78 |
Austin Chronicle
Rarely have I seen a film so willing to champion the fallibility of the human heart.
|
| 75 |
Miami Herald
Loses its nerve in the final minutes, relying on a series of contrivances to arrive at an unconvincingly pat, happy ending. The story begged for a darker, more biting resolution.
|
| 75 |
Philadelphia Inquirer
Seething, searing tragedy of unmannerliness.
|
| 75 |
Chicago Tribune
A thrilling ride but also a thoughtful one, it's a movie that does manage to do more good than bad by the end of the day.
|
| 75 |
San Francisco Chronicle
Modern film noir done with flair and commitment.
|
| 75 |
Entertainment Weekly
Teasing drama whose relentless good-deed/bad-deed reversals are just interesting enough to make a sinner like me pray for an even more interesting, less symmetrical, less obviously cross-shaped creation.
|
| 75 |
USA Today
If it's not conventionally speedy, it is almost always gripping.
|
| 75 |
ReelViews
While Changing Lanes isn't a perfect movie, it's watchable and compelling, and works on more than one level.
|
| 75 |
Christian Science Monitor
A refreshingly novel ride.
|
| 70 |
LA Weekly
Although what ensues is generally unsurprising and as pro forma down-and-dirty as the genre dictates, it's also on occasion rather affecting.
|
| 70 |
Film Threat
As it stands Changing Lanes already exceeds expectations, provoking serious thought while skillfully telling a compelling, character-driven story.
|
| 70 |
New York Magazine
More entertaining than it has a right to be. It's pulpy and preposterous, and yet it gets at a real truth.
|
| 67 |
Portland Oregonian
Deeply strange, oddly shimmery movie.
|
| 67 |
Seattle Post-Intelligencer
The movie just seems like one more Hollywood cop-out, and a waste of our original emotional investment.
|
| 63 |
Boston Globe
Renee Graham
Banek is one of the more complex characters Affleck has attempted, but the performance comes off flat and uninvolving.
|
| 63 |
Baltimore Sun
For all its pretensions, Changing Lanes, ultimately, is about nothing more profound than one foul day.
|
| 63 |
Charlotte Observer
It's watchable from start to finish, despite lapses in common sense, and it boasts a terrific cast of over-40 actors.
|
| 60 |
Rolling Stone
What these guys do for revenge during one hellish day in the Big Apple makes the panic room look like Barney's toy box. The film itself goes off the deep end way before the end credits.
|
| 60 |
TV Guide
Bleak and complex moral thriller.
|
| 60 |
Village Voice
Smitten by the symmetry of his parable, director Roger Michell crosscuts emphatically between the preening leads -- a strategy that only draws attention to the numerous lapses in logic and unpersuasive changes of heart while sidelining the lively supporting cast
|
| 60 |
Salon.com
Damien Cave
Despite some solid acting and cinematography -- mistakenly turns what should have been a fast-paced thriller into a cerebral sermon about the slippery slope of corporate law.
|
| 60 |
Wall Street Journal
A curious combination of strident preachment and smartly farcical thriller; it's heavy-handed and light-footed at the same time.
|
| 50 |
The New York Times
It is so dishonest that the title Changing Lanes can just as well refer to the cheaply contrived turns in the film.
|
| 50 |
The Globe and Mail (Toronto)
Definitely erratic, this thing -- all in all, it's the sort of commercial vehicle you might want to stay well back of.
|
| 50 |
New Times (L.A.)
If you can roll with these moments, the rest of the film pays off, but even with a relatively happy ending (one that, given the characters in question, may not last), it's a heck of a downer for date night.
|
| 38 |
New York Daily News
Gets too caught up in its escalating violence and strained-to-bursting moral subtexts. It's the blood of souls drenching the screen, and it's a hideous sight to behold.
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