Public Enemies Reviews

  • The film kicks you in the balls with awesomeness, but is smart enough not to turn back and keep kicking you until you forget you're being kicked.

    Julian Roman — MovieWeb

  • With its measured, team-produced screenplay by Mann, Ronan Bennett, and Ann Biderman, Public Enemies makes heavy business of the notion that Hoover ushered in an era of ethically elastic law-enforcement procedures still recognizable today.

    Lisa Schwarzbaum — Entertainment Weekly

  • Michael Mann's Public Enemies is a grave and beautiful work of art.

    Manohla Dargis — New York Times

  • It's a picture with virility and confidence, and unlike Dillinger's machine-gun, which the man himself expertly takes to pieces, it never quite jams, and gets off one or two lethal rounds.

    Peter Bradshaw — Guardian [UK]

  • Director Michael Mann mounts a technically proficient, visually enthralling crime drama anchored by the low-key but captivating performance of Johnny Depp as legendary bank robber John Dillinger.

    Claudia Puig — USA Today

  • Public Enemies, despite packing thunderous rounds of ammunition, is a touch too remote.

    Dan Zak — Washington Post

  • Public Enemies has everything going for it except a reason and a script.

    Ty Burr — Boston Globe

  • Even when Dillinger is at rest, Public Enemies exudes a nervous tension, the sense that flight is imminent.

    Scott Foundas — Village Voice

  • The underconceived Public Enemies suffers from that lack of drive, though Johnny Depp is so urgent and charismatic as John Dillinger, he provides enough firepower to make the film legit.

    Joe Neumaier — New York Daily News

  • Our connections with Public Enemies remain abstract. The darkness and the distance kill the fun.

    Joe Morgenstern — Wall Street Journal

  • Amid the summer season of spectacle and silliness, Public Enemies appears as an oasis of adult entertainment.

    Tom Maurstad — Dallas Morning News

  • Public Enemies is as elegant and muscular a film as one could hope for in a summer of flash and noise. Which is not to say director Michael Mann's gangster saga lacks flash and simmer.

    Lisa Kennedy — Denver Post

  • ... as strange and exhilarating as riding the running board of John Dillinger's fast, shiny, black getaway car.

    Kathleen Murphy — MSN Movies

  • The best rejoinder to Public Enemies is Michael Jackson's Smooth Criminal video... It's a tommy-gun gangster fantasia with a touch of Guys and Dolls, and it's everything Public Enemies isn't.

    David Edelstein — New York Magazine

  • The movie is emotionally neutered.

    David Denby — New Yorker

  • Here is a film that shrugs off the way we depend on myth to sentimentalize our outlaws.

    Roger Ebert — Chicago Sun-Times

  • It's a fascinating bundle of contradictions--authentic in a million details, deeply romanticized in others. Cool, calm and collected, this is more love story than gangster picture.

    Michael Phillips — Chicago Tribune

  • Mann excels at staging the chaotic bank jobs and bloody shootouts that were just a day at the office for Dillinger, but even at 140 minutes the movie is so dense with incident that there isn't much room for cultural comment or character development.

    J. R. Jones — Chicago Reader

  • Ultimately, the movie's a bust.

    Steven Rea — Philadelphia Inquirer

  • It fits neatly on the shelf with Bonnie and Clyde and The Godfather.

    Colin Covert — Minneapolis Star Tribune

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