Critic Reviews
| 100 |
Salon.com
Allen Barra
The best Hannibal Lecter movie and one of the greatest suspense movies ever made... A lurid masterpiece that pays homage to the seductiveness of pulp, not by dressing it in the trappings of fine art but by stripping it to the essentials of what we responded to in the material in the first place.
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| 90 |
Film Threat
Dave Beuscher
As with all of Mann's films, Manhunter is an intense experience. All of the actors, including even legendary goofball Chris Elliott, give brooding, serious performances.
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| 90 |
The Onion (A.V. Club)
Mann takes all the instincts he learned as a Miami Vice producer and trims them of their excesses, and the result is an unsettling thriller whose detached style perfectly complements its psychological intensity.
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| 88 |
Chicago Tribune
William L. Petersen (''To Live and Die in L.A.”) gives another mesmerizing, seeming nonperformance as the brilliant agent on the trail of a serial killer who has murdered families in the South. [29 Aug 1986]
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| 83 |
Entertainment Weekly
Marc Bernardin
The brilliance of Michael Mann's Manhunter is that it appreciates that the true nexus of humanity is our shared closeness.
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| 80 |
TV Guide
Staff (Non Credited)
Petersen is superb as the obsessive investigator who risks madness each time he takes on a case, and Tom Noonan is absolutely chilling as the psycho killer.
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| 70 |
Variety
Staff (Not Credited)
An unpleasantly gripping thriller... Interesting Hitchcockian guilt transference territory and Mann's grip on his material is tight and sure. Director is at all times preoccupied by visual chic.
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| 70 |
Chicago Reader
Pat Graham
I'm rather intrigued with what Mann does with his stylistic envelope: it's simultaneously hypnotic and enervating, meditative and empty, like a white-noise background or a field of electronic snow on the tube.
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| 50 |
Los Angeles Times
With Manhunter, there seems to be some danger that style has overrun content, leaving behind a vast, chic, well-cast wasteland. [15 Aug 1986]
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| 25 |
San Francisco Chronicle
Steve Winn
Without a compelling - and convincingly compelled - character at its center, the details in this film lack an agonizing drop-by-drop tension. The various pieces fall apart like the shattered mirrors that figure in the crimes. [15 Aug 1986]
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