| 75 |
Chicago Tribune
Marc Caro
The movie delivers on its own terms. It may emerge a bit bruised and tattered around the edges, but its ever-beating heart provides the ultimate Proof of Life.
|
| 75 |
Baltimore Sun
Fortunately, this film doesn't have to depend on off-screen dalliances to prove its worth.
|
| 73 |
Mr. Showbiz
Proof of Life won't hold your heart hostage for very long after it's over, but here's looking at Russell Crowe -- he's the real deal, sweetheart.
|
| 63 |
Philadelphia Inquirer
Whatever romantic tension the film has is communicated in the coiled-spring performance by Crowe, one of the most remarkable actors working.
|
| 63 |
New York Post
Disappointingly routine kidnapping thriller with soap-opera trimmings.
|
| 63 |
USA Today
It's never enough of a grabber to keep the mind from wandering to the romance it apparently sparked.
|
| 63 |
New York Daily News
The romantic subtext of their characters' relationship is the film's chief liability, and feels forced and undeveloped.
|
| 63 |
Boston Globe
It's absorbing, although draggy.
|
| 63 |
Chicago Sun-Times
I was interested all through the movie--interested, but not riveted. I cared, but not quite enough.
|
| 60 |
Chicago Reader
Against the lush backdrop of the Andes, Crowe and Caruso define on-screen cool: good guys in a match of wits and firepower who even talk about their emotions.
|
| 60 |
TV Guide
His (Crowe) emotionally charged performance stands in contrast to Ryan's annoying, movie-star turn.
|
| 60 |
LA Weekly
Exactly the sort of good bad movie that Hollywood does best -- it's big, worthless fun.
|
| 58 |
Entertainment Weekly
When it's dull, which it is too often for a kidnap caper, this movie is about a woman chirping ''notice anything new about my outfit?'' to a man whose idea of style is a jacket not crusted in human blood.
|
| 50 |
Los Angeles Times
An ambitious film that aims to examine the human equations behind the abductions. But for all its good intentions, it's not as subtle as it might be, and it's finally pitched too broadly to achieve the level of emotional truth it aims for.
|
| 50 |
Washington Post
In Proof of Life it's the same old story, a fight for love and glory, except that time goes by . . . slowwwwly.
|
| 50 |
Slate
Crowe gets to use his real Aussie voice, which works better with that poker face, and his underplaying at times has a psychotic intensity. But Ryan looks dopey when she's supposed to be stressed-out.
|
| 50 |
Austin Chronicle
Morse and Caruso provide better reasons to see this film than do Ryan and Crowe.
|
| 50 |
Newsweek
This slick, handsomely produced thriller only gets the pulse half racing.
|
| 50 |
The New York Times
What ultimately sinks this stylish but heartless film is a flat lead performance by the eternally snippy Meg Ryan.
|
| 50 |
Salon.com
Michael Sragow
Everything about Proof of Life is intriguing and a little off.
|
| 40 |
Film.com
Flat and thoroughly predictable piece of filmmaking.
|
| 40 |
Variety
A disappointingly routine thriller that prefers to lean on tired Hollywood conventions rather than to explore fresh dramatic and stylistic territory.
|
| 40 |
Rolling Stone
Slim pickings.
|
| 40 |
Film.com
This is half a good movie held hostage to the other, trashier half, and unfortunately for all of us, no rescue seems forthcoming.
|
| 30 |
Village Voice
It's Rambo with a split hero -- Morse absorbing punishment and Crowe wreaking vengeance.
|
| 25 |
Miami Herald
A hostage drama without any tension. It is a love story without any heat. It is as curiously empty a movie as we've seen all year.
|
| 25 |
San Francisco Chronicle
A hostage drama that oscillates between soap opera and action flick.
|
| 20 |
Washington Post
Proof of Life isn't a movie. It's an overpriced scrapbook.
|
| 20 |
Dallas Observer
Proof of Life kidnaps the audience, then tortures it to a slow death
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