Stop Loss Reviews

  • Strewn story parts pile up in Stop-Loss, a painfully polite Iraq war drama pitched at the MTV generation.

    Lisa Schwarzbaum — Entertainment Weekly

  • In some ways, there is a grim, accidental timeliness in the release of Stop-Loss, which focuses on the ordeal of American soldiers in and out of combat.

    A.O. Scott — New York Times

  • Stop-Loss can't quite decide whether to focus on making a powerful statement on a controversial and unfamiliar military policy or on a more predictable drama about the traumatic effect of war on young people's lives.

    Claudia Puig — USA Today

  • It's a remarkably entertaining movie, thanks in part to a first-rate cast and a director who knows you can't make a point without calling everyone to attention.

    John Anderson — Washington Post

  • [Director] Peirce wants to leave us with something heavy to ponder, but I'll be damned if I can figure out what that is.

    Ty Burr — Boston Globe

  • Viewers of any age are bound to be moved by [director Peirce's] primary theme: that there is no easy cure for these damaged young veterans, whether they return to war or fight their demons at home.

    Elizabeth Weitzman — New York Daily News

  • Swamped by cliches, continuity problems, stock characters and very good intentions.

    Joanne Kaufman — Wall Street Journal

  • It's more a sweaty assemblage of dramatic high-points than a coherent, persuasive story of wounded warriors trying to make it.

    Amy Biancolli — Houston Chronicle

  • Anchored by deft performances from a sturdy ensemble, Stop-Loss provides proof of Peirce's sensitivity with actors as well as her interest in stories of American folk who don't often get the close-ups they should.

    Lisa Kennedy — Denver Post

  • The power of Stop-Loss -- and this is no dumb joke -- is that it shows its hero between Iraq and a hard place.

    David Edelstein — New York Magazine

  • Boys Don't Cry director Kimberly Pearce attempts to anchor the Iraq War debate in the lives of a specific subset of soldiers and nearly pulls it off. But her promising premise runs into a rut of incompatible accents and melodramatic excess.

    Logan Hill — New York Magazine

  • Stop-Loss is not a great movie, but it's forceful, effective, and alive, with the raw, mixed-up emotions produced by an endless war -- a time when the patriotism of military families is in danger of being exploited beyond endurance.

    David Denby — New Yorker

  • Peirce's obvious respect for the returned soldiers should prevent Stop-Loss from being dismissed as a Hollywood anti-war screed. It's more accurately described as an anti-war movie with a resolutely pro-troop message.

    Jessica Reaves — Chicago Tribune

  • Though its intentions are noble, it's hampered by a stock romantic subplot, a familiar structure, and a lack of symmetry.

    J. R. Jones — Chicago Reader

  • While it would be premature to decorate it as the Best Years of Our Lives or Coming Home of the Surge, Stop-Loss carries the emotional force and propulsive drama of the quintessential soldier's story.

    Carrie Rickey — Philadelphia Inquirer

  • The story steers away from cliches and political polemics, maintaining a tone of unflinching emotional realism.

    Colin Covert — Minneapolis Star Tribune

  • There's a keen and ugly sense of anguish to Stop-Loss, a caged sense of powerlessness beyond political outrage that makes this film far and away the most effective effort yet at capturing the frustration of the war in Iraq.

    Tom Long — Detroit News

  • Stop-Loss goes in too many directions at once, and most of those directions are predictable.

    Bill Goodykoontz — Arizona Republic

  • A wildly uneven drama, by turns sincere and synthetic.

    Joe Leydon — Variety

  • After five years of news footage and documentaries coming from the war in Iraq, Stop-Loss is as phony as a re-enactment with finger pup pets.

    Kyle Smith — New York Post

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