| 100 |
Chicago Sun-Times
The performances are all insidiously powerful.
|
| 100 |
Entertainment Weekly
The movie is pulp, yet it attains a surprising emotional power-especially when Anjelica Huston's Lilly, a survivor who'll do whatever it takes to master her surroundings, is on-screen.
|
| 100 |
San Francisco Chronicle
John Stone
[Frears] has not only captured the bleak qualities of the old film noir melodramas but supplied an undercurrent that is as sly as it is unsettling. [25 Jan 1991]
|
| 100 |
The New York Times
The Grifters moves with swift unsentimental resolve toward a last act as bleak as any in recent American screen literature. In a less skillful work, it would be a downer. The Grifters is so good that one leaves the theater on a spellbound high. [5 Dec 1990]
|
| 100 |
The New Yorker
Huston's power as Lilly is astounding... She bites right through the film-noir pulp; the [climactic] scene is paralyzing, and it won't go away.
|
| 100 |
Los Angeles Times
Diamond-hard and mesmerizing… Bening and Cusack are perfection at what they are doing, she twinkly as any rhinestone, he dangerously passive; it's hardly their fault that Huston is the motor of the piece and so ferociously seductive that one cannot look away from her. [5 Dec 1990]
|
| 100 |
Wall Street Journal
Mr. Frears is as good with the small touches as he is with the big ones – and that means they're great. [24 Jan 1991, p.A8(E)]
|
| 90 |
Washington Post
If Frears and screenwriter Donald E. Westlake (who scripted "The Stepfather") are light on substance, they're satisfyingly heavy on nuance. Grifters may not blow you away afterward but it keeps your attention riveted during.
|
| 88 |
The Globe and Mail (Toronto)
Indeed, as the film unreels to its extraordinary climax - a scene that will make your skin crawl - Frears has the larger target right in his sights and, bang, pulls the thematic trigger, taking no prisoners.
|
| 88 |
Chicago Tribune
Huston gives one of her very best performances as a strong lady who can con almost everyone but herself. Her manner on the screen in this picture and in Woody Allen's "Crimes and Misdemeanors'' marks Huston as the one contemporary actress who comes closest to having the power of classic female dramatic stars of years past. [25 Jan 1991]
|
| 80 |
TV Guide
Staff (Not Credited)
Westlake's screenplay has the right combination of vivid characters, mordant wit and avaricious savagery which distinguishes the best noir.
|
| 80 |
Washington Post
Hal Hinson
[Huston] brings a vital conviction to her scenes; they're scorchingly immediate, and her ability to get in sync with what Lily's feeling is what gives the movie weight. She may be the best we have.
|
| 75 |
Christian Science Monitor
It's a picture marked by competence, not the boiling-over intensity that Frears and Thompson fans have anticipated. [30 Nov 1990]
|
| 70 |
Time
Best to savor The Grifters for its handsome design -- the picture looks as clean as a Hockney landscape -- and its juicy performances. [11 Feb 1991]
|
| 63 |
USA Today
More than anything, The Grifters isn't dramatically shot; black-and-white would have made a huge difference. [5 Dec 1990]
|
| 60 |
Empire
Adrienne Scott
The simmering implication of incestuous emotions between Lili and Roy, leading to the shocking denouement, is badly underdeveloped and mishandled, leaving a lingering sense of anti-climax.
|
| 60 |
Variety
Staff (Not Credited)
A curiously uneven movie.
|
| 50 |
Chicago Reader
While the filmmakers manage to keep things interesting (sexy, kinky, and ambiguous) much of the time, the self-conscious piety that Frears lavishes on this material places it in an uncertain netherworld that prevents it from ever becoming fully convincing, even as a stylistic exercise.
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