Few Good Men, A

Rolling Stone Peter Travers

That the performances are uniformly outstanding is a tribute to Rob Reiner, who directs with masterly assurance, fusing suspense and character to create a movie that literally vibrates with energy.

Entertainment Weekly Owen Gleiberman

Like all courtroom dramas, A Few Good Men is gimmicky and synthetic. It's also an irresistible throwback to the sort of sharp-edged entertainment Hollywood once provided with regularity.

The New York Times Vincent Canby

A big commercial entertainment of unusually satisfying order. [11 Dec 1992]

Variety Todd McCarthy

Expert story construction and compelling thesping and direction make all the narrative elements pay off as if calculated by a precision instrument in which all the parts are working perfectly.

Empire Emma Cochrane

This is a timeless thriller, a reminder of how stars who have been so average elsewhere can produce excellent — some career-best — work when given a decent script and a confident director.

Washington Post Desson Thomson

An entertainment to be seen and appreciated in momentum. As such, it is constantly gripping

Austin Chronicle Marjorie Baumgarten

If anything, A Few Good Men errs by throwing almost too many elements, themes and moral debates into the mix thus, by default, they sometimes seem shallowly developed and overly simple. Then again, that perhaps allows them to connect with more universal experiences.

Chicago Tribune Dave Kehr

Works because it's able to draw so many side issues into its central conflict, spreading its concerns culture-wide. [11 Dec 1992]

USA Today Mike Clark

Pace and performances dominate, with popped salutes going to Keifer Sutherland, Kevin Pollack, Kevin Bacon and especially Nicholson's smiling barracuda. [11 Dec 1992]

Washington Post Rita Kempley

About as understated as a 21-gun salute... What's missing is anything of Reiner himself.

Time Richard Schickel

Men is a little too neat structurally, its moral and human issues a little too clear-cut: at heart it is old-fashioned melodrama. But Sorkin's dialogue is spit-shined, and the energy and conviction with which it is staged and played is more than a compensation; it's transformative. And hugely entertaining. [14 Dec 1992]

Chicago Sun-Times Roger Ebert

The film doesn't make us work, doesn't allow us to figure out things for ourselves, is afraid we'll miss things if they're not spelled out.

TV Guide Staff (Not Credited)

The final scene, when Kaffee locks horns with Jessep, more than makes up for the predictability of what's come before.

Los Angeles Times Kenneth Turan

The film's plot...is more contrived than creditable, motivations are not always clear, and some characters, for instance Kiefer Sutherland as a praise the lord and pass the ammunition Marine, are not very convincingly acted. [11 Dec 1992]

Wall Street Journal Julie Salamon

Though not terribly interesting as political philosophy, A Few Good Men makes for a passably entertaining movie. [31 Dec 1992, p.A5(E)]

San Francisco Chronicle Edward Guthmann

Slick, overly deliberate and brimming with hammy performances...directed by Rob Reiner with glistening, uninspired competence. [11 Dec 1992]

The New Republic Stanley Kauffmann

Everything falls into place, click click click. Like many a formulaic piece, this one engages a real theme--here it's the conflict between the concept of duty and the idea of the individual--and does little with it. [25 Jan 1993]

Christian Science Monitor David Sterritt

An engaging and sometimes gripping movie, if ultimately a superficial one. Reiner has mastered the surface skills of moviemaking, although the inner depths continue to elude him. [11 Dec 1992]

Chicago Reader Jonathan Rosenbaum

I'm usually a sucker for courtroom dramas, but Rob Reiner's highly mechanical filming by numbers of Aaron Sorkin's adaptation of his own cliched and fatuous Broadway play kept putting me to sleep.

The Globe and Mail (Toronto) Jay Scott

The performers are powerless to bring life to this moribund courtroom drama...a snoozer.

The New Yorker Michael Sragow

The moral discussions operate like a bad pair of elevator shoes: it's obvious that their function is to lift black-and-white melodrama into message-movie paradise. The whole film, with its steady, important-picture pacing and its bits of pseudo-profundity, is a piece of glorified banality. [14 Dec 1992, p.123]