| MGM/UA Distribution Company | Release Date: December 16, 1988 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
12
Mixed:
4
Negative:
2
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Critic Reviews
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]
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]
In every detail - the superb soundtrack, the rich cinematography, the dinstinctively edgy editing - Rain Man reveals itself as a movie made with care, smarts, and a refreshing refusal to settle for the unexpected. [19 Dec 1988]
A film that is both touching and generous of spirit - and funny as well. [15 Dec 1988, p.A16(E)]
How can you make a movie about a man who cannot change, whose whole life is anchored and defended by routine? Few actors could get anywhere with this challenge, and fewer still could absorb and even entertain us with their performance, but Hoffman proves again that he almost seems to thrive on impossible acting challenges.
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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]
There is ultimately in Rain Man a soul that emerges. It's not the grand vision found in the great films, but it is a vision nevertheless. [16 Dec 1988]
Though it's well directed, written and performed, Rain Main still slips irreversibly into the so-what category. [16 Dec 1988]
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]
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]
Cruise is becoming a real star, confident and gleaming. But neither he nor Hoffman nor the cleverness of the director, Barry Levinson, can prevail against a screenplay that has a beginning at the Ohio home, a finish in L.A., and nothing much in between. [9 Jan 1989]
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]
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