Sniper

Best of all, is this knock-out, though overused, optical effect of a bullet hurtling and whizzing through space toward its target. Sniper is sure to appeal to armchair assassins and fantasy war-gamers. Beyond that audience, Peruvian director Llosa's American debut will appeal to anyone interested in well-made and well-acted pictures that compensate with skill for what they may lack in inspiration. Read full review

A virtual two- hander, the narrative proceeds by contrasting Berenger's edgy pragmatism with Zane's unwilling induction to the art of murder, though the director's inventive bullets' eye-view shots still fail to dispel the suspicion that the film has little new to say. Read full review

Sniper is an expertly directed, yet ultimately unsatisfying psychological thriller. Luis Llosa’s first-rate action direction is undermined by underdeveloped characters and pedestrian dialogue. Read full review

Action fans probably won't be offended, provided they're not expecting Berenger to be America's answer to James Bond. There are occasions when Sniper shows flashes of promise, although most of these are short-lived. The film is capable of providing a one-hundred minute diversion for anyone who has nothing better to do. The potential is here for something much better, but, unfortunately, Sniper shoots itself in the foot. Read full review

Sniper moves briskly along, aided by the lush photography by veteran Bill Butler. [29 Jan 1993, p.I]

Sniper is the Tom Berenger film that'll be forgotten by this time next week. [30 Jan 1993, p.C3]

But most of Sniper is a bore. The details of their assignment are never spelled out, the middle of the film sags, and, in any case, it's hard to work up much enthusiasm for these snipers, heroic though their mission may be. In the movies, heroes must be larger than life: There's just not much excitement watching two guys hide in a bush, waiting for a clear shot. [3 Feb 1993, p.3]

Only mildly exciting as it grinds toward its conclusion, Sniper falls apart in the last reel as writers Michael Frost Beckner and Crash Leyland dispense with credibility by turning the rebel and drug lord's forces into the Keystone Kartel, invoking a Magic Bullet and attempting an Oliver Stone denouement. Unfortunately, director Luis Llosa is no Oliver Stone. Read full review