Coming Home
United Artists | Release Date: February 15, 1978 CRITIC SCORE DISTRIBUTION
61
METASCORE
Generally favorable reviews based on 9 Critic Reviews
Positive:
3
Mixed:
6
Negative:
0

Critic Reviews

Critic scorePublicationBy date
100
Chicago Sun-TimesRoger Ebert
It confronts the relationship between Fonda and Voight with unusual frankness -- and with emotional tenderness and subtlety that is, if anything, even harder to portray. Read full review
90
VarietyStaff (Not Credited)
In general an excellent Hal Ashby film which illuminates the conflicting attitudes on the Vietnam debacle from the standpoint of three participants. Read full review
75
TV Guide MagazineStaff (Not Credited)
What does work in Coming Home are the small, human, unguarded moments. The performances, undeniably appealing, were deservedly praised, Dern and Voight coming off best. Read full review
60
Time OutStaff (Not Credited)
Cliché piles on cliché to the strains of a garbled '60s soundtrack, but the movie's ending goes some way to recognising its failure. Fonda is magnificent. Read full review
60
NewsweekJack Kroll
Admirable in many ways, Coming Home succumbs to the same American lust for romance and heroism for which it implicitly condemns its doomed Marine captain. [20 Feb 1978, p.87]
50
Chicago ReaderDave Kehr
The film has less to do with politics, women's or otherwise, than with a very conventional notion of the redemptive power of mother love. Which would be all right if director Hal Ashby had managed to mount it effectively—he hasn't though, and the results are dramatically incoherent. Read full review
50
The New York TimesVincent Canby
Strong, stinging triangle of two Vietnam vets and one wife. Read full review
50
Washington PostGary Arnold
Some of the intuitions and sentiments shared by Ashby and the cast result in affecting interludes, but on the whole the material is too diffuse and complacently wistful to accomplish its ultimate goal of getting you there, breaking your heart, scaling the summit of old Mt. Pathos. Read full review
50
The New YorkerPauline Kael
Hal Ashby directed this intuitive yet amorphous movie, which falls apart when he resorts to melodramatic crosscutting.
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