| New Line Cinema | Release Date: September 29, 1992 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
26
Mixed:
4
Negative:
0
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Critic Reviews
On screen as on the stage, Glengarry Glen Ross is a powerhouse experience - forcefully written, bruisingly performed, and one of the most thoughtful American films in recent memory. [29 Sep 1992, p.11]
Few contemporary writers for the stage, TV and cinema have come close to David Mamet for the quality, quantity and variety of their work. Among its peaks, and characteristic of his highly individual ear for American demotic at its most creatively and colourfully obscene, is Glengarry Glen Ross.
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A powerful film - the best and fullest expression of Mamet's brilliantly brutal sensibility to reach the movie screen. [02 Oct 1992, p.19]
The directing's a bit obtrusive, but the script and the acting gets to the heart of Mamet's glorious obsession with macho B.S.
It boasts a dream cast - from Jack Lemmon and Al Pacino in the most garrulous roles, to Jonathan Pryce in a smaller part that's near-mimetic. [02 Oct 1992, p.26]
Director James Foley deftly juggles expressionistic actor closeups with drab widescreen shots that convey abject seediness. [30 Sep 1992, p.1D]
Alec Baldwin is on camera for barely eight minutes in Glengarry Glen Ross, the tightly wound — and actually very fine — film adaptation of David Mamet’s play. But his big speech, whipping up the assembled real estate salesmen with reptilian gung ho, could stand as a compressed version of what makes Baldwin, when bad, so good.
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If Foley's strategies don't quite regenerate the caged-animal urgency of the play, the tradeoff of some verbal fireworks for piercing closeups isn't all bad. [16 Sep 1992, p.72]
It's a well written, well staged and well acted piece, though there is something musty in its aesthetic - that of the huge, bellowing method performance, plastered over a flimsy, one-set world. [02 Oct 1992, p.A]
The energy of the play's best scenes is dissipated in the film version, but they still work. [02 Oct 1992, p.C1]
Now that it has been set to film, it seems somehow dated as well. The greed of the 1980s, thematic backdrop for Mamet's original, is presumed gone. Glengarry Glen Ross looks almost . . . quaint. [02 Oct 1992, p.G5]
It's a scathing, somewhat setbound movie about greed, manipulation and the depths to which some people sink to survive.
It's a movie that a lot of Americans can identify with. That's what makes it so painful to endure. [02 Oct 1992, p.9]
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