(1988)

Critic Reviews

65

Metascore

Based on 18 critic reviews provided by Metacritic.com
100
USA Today
There've been few screen moments more moving this year than Cruise's initial reaction to his brother's almost superhuman math prowess. [16 Dec 1988]
90
Los Angeles Times
Somehow, Hoffman makes all this hypnotically interesting, and, through impeccable timing, sometimes terribly funny--a sweet humor which never betrays Raymond's unalterable character. [16 Dec 1988]
80
Chicago Reader
Fortunately, the script by Ronald Bass and Barry Morrow isn't half bad, and both Barry Levinson's direction and the performances are agreeably restrained.
75
Christian Science Monitor
The story wanders, the plot twists seem contrived at times, and the emotions are never as intense as they might be. But it highlights yet another facet of Hoffman's talent: a gift for monochrome, of all things! And it has a heart as good as Raymond's own. [30 Dec 1988]
75
The Globe and Mail (Toronto)
Only after the Hollywood hypnotism wears off is it apparent that Rain Man, fundamentally an artsy sentimentalization of "The Odd Couple," is somewhat less than the sum of its perfect parts.
60
The New York Times
In much the way that Raymond stays detached, the performance seems to exist outside the film but, instead of illuminating Rain Man, it upstages the work of everyone else involved. [16 Dec 1988, p.C12]
50
Time
Rain Man's restraint is, finally, rather like Raymond's gabble. It discourages connections, keeping you out instead of drawing you in. [19 Dec 1998]
50
Hoffman blows costar Cruise right off the screen...Instead of playing off or with Hoffman (a greenhorn's smartest strategy), Cruise tends to play at him, flailing and swearing like a spoiled, grounded pilot in "Top Gun II."
30
The New Yorker
Everything in this movie is fudged ever so humanistically, in a perfuctory, low-pressure way. And the picture has its effectiveness: people are crying at it. Of course they're crying at it - it's a piece of wet kitsch. [6 Feb 1989]
30
It's Hoffman's failure, though, that sinks the picture. He is working here with his usual meticulousness, but there's no relaxation in his performance, no sense that he has ever merged with his subject, that he has found Raymond's center and is simply acting out of it.

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