| 100 |
Los Angeles Times
Simultaneously heroic and nihilistic, reeking of myth but modern as they come, it is a Western for those who know and chrish the form, a film that resonates with the spirit of films past while staking out a territory quite its own. [7 Aug 1992]
|
| 100 |
Variety
Clint Eastwood has crafted a tense, hard-edged, superbly dramatic yarn that is also an exceedingly intelligent meditation on the West, its myths and its heroes.
|
| 100 |
Chicago Tribune
This dark, melancholic film is a reminder -- never more necessary than now -- of what the American cinema is capable of, in the way of expressing a mature, morally complex and challenging view of the world. [7 Aug 1992]
|
| 100 |
Time
Unforgiven questions the rules of a macho genre, summing up and maybe atoning for the flinty violence that made Eastwood famous. [10 Aug 1992]
|
| 100 |
Austin Chronicle
Louis Black
But in the genre, as both a movie and a conscious addition to the ongoing celluloid Western mythology, the film is a masterpiece, a stunning and awe-inspiring statement.
|
| 100 |
The New Yorker
Michael Sragow
Under its leathery hide is a genuine compulsion to de-romanticize Western gunfighting. Every bullet in this movie matters, and by the end Munny's alcohol-fuelled, satanic purposefulness is shocking: in the climax, even his choice of victims has a crazy excess. [10 Aug 1992, p.70]
|
| 100 |
Wall Street Journal
It's powerful entertainment. [22 Sept 1992, p.A16(E)]
|
| 90 |
Rolling Stone
Unforgiven is the most provocative western of Eastwood's career, and with Gene Hackman, Morgan Freeman and Richard Harris along for the ride, it's also the most potently acted.
|
| 90 |
Washington Post
Exults in the hard-riding romanticism of classic Westerns, but it takes revisionist stock too. It dismounts at places usually left in the dust -- the oppressed lot of women, the loneliness of untended children, adult illiteracy and the horrible last moments of the dying.
|
| 90 |
TV Guide
Staff (Not Credited)
The cast is universally strong. Hackman, Freeman and Harris don't do anything they haven't done before, but the roles suit their personae to a degree where they approach archetypal status.
|
| 88 |
USA Today
It's the actor/director's best movie - and the best Western by anybody in over 20 years. [7 Aug 1992]
|
| 80 |
Film.com
If Unforgiven occasionally overstates its case, this is the best work Eastwood has done as a director since The Outlaw Josey Wales 16 years ago.
|
| 80 |
The New York Times
Unforgiven... never quite fulfills the expectations it so carefully sets up. It doesn't exactly deny them, but the bloody confrontations that end the film appear to be purposely muted, more effective theoretically than dramatically.
|
| 80 |
Empire
Rob Fraser
It is the last great Western ever made, and it will always remain so.
|
| 75 |
The Globe and Mail (Toronto)
Jay Scott
Each character in David Webb Peoples' dense, unexpectedly stately, non- violent script (the inevitable gore is employed sparingly) is treated with that same, somewhat distanced clarity.
|
| 75 |
Entertainment Weekly
Staff (Not Credited)
As enjoyable as most of Unforgiven is, Eastwood's shades-of-gray moralism feels like a whitewash.
|
| 75 |
Christian Science Monitor
Plays out its drama with enough old-fashioned sobriety to lend the proceedings a classical air, offering the comfort of familiarity rather than the thrill of discovery. [13 Aug 1992]
|
| 60 |
Chicago Reader
As a moral reconsideration of the role of violence in previous Eastwood films, this is strong and sure, and characters who play against genre expectations give the film a provocative aftertaste. The only limitation, really, is that the picture hasn't much dramatic urgency apart from its revisionist context.
|
| 50 |
San Francisco Chronicle
Though the movie is riddled with memorable scenes of violence, its pace is slow -- too slow. It has an epic sprawl, but it's not an epic. It's more like a bloated fairy tale. [7 Aug 1992]
|
| 40 |
Washington Post
Hal Hinson
If Eastwood had any emotional depth as an actor, the character's anguish might come through.
|
| 30 |
The New Republic
At the last, we're left with a film that tries to doll up a conventional genre with hints of depth, hoping to disguise the cross-dressing by putting it in the shape of an epic. Murnau, Mizoguchi, Ford, even you authors of the Book of Genesis, rest easy. [12 Oct 1992]
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