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Reviews provided by RottenTomatoes
John Monaghan, Detroit Free Press: Elektra the movie is a lot like Elektra the assassin. It executes its mission with considerable precision but never feels truly alive. Read more
Peter Debruge, Miami Herald: Garner has no trouble looking sexy, and teen boys should enjoy Elektra's many gratuitous costume changes, but she's hopelessly unconvincing in this icy role. Read more
Erik Lundegaard, Seattle Times: It's opaque where it should be clear (motivations; fight scenes). It's clear where it should be opaque (what happens next). Read more
Michael Wilmington, Chicago Tribune: Devotees of awful filmmaking can't go wrong with this one. Read more
Carina Chocano, Los Angeles Times: Would it kill a tough girl to crack a smile or eat a Twinkie or make a pass once in a while? Does she have to be a squinty jerk with intimacy issues in order to be considered super? Read more
Roger Moore, Orlando Sentinel: The film's multi-writer screenplay struggles vainly to hide its plagiarized themes and action beats. Read more
Steven Rea, Philadelphia Inquirer: Kill Bill without irony, and without Quentin Tarantino's flair for cool dialogue and chop-socky action (and without Uma Thurman, for that matter). Read more
Christy Lemire, Associated Press: Everything comes back to Garner, though -- and even when the movie takes itself too seriously, thankfully she never does. Read more
Lou Lumenick, New York Post: Resembles nothing so much as a dumbed-down, PG-13 version of Kill Bill, put together by a team tone-deaf to bad dialogue, atrocious acting, cheesy special effects and clumsily staged action sequences. Read more
Jonathan Rosenbaum, Chicago Reader: This doesn't exactly set the world on fire, but I was charmed by its old-fashioned storytelling, which is refreshingly free of archness, self-consciousness, or Kill Bill-style wisecracks. Read more
Mick LaSalle, San Francisco Chronicle: Another inert, soul-dead action drama that turns actors into zombies. Read more
Richard Roeper, Ebert & Roeper: They should have just called this movie Contractually Obligated Sequel staring Jennifer Garner because I can see no other reason why someone as talented and as smart as she is would want to do this film. Read more
Bob Townsend, Atlanta Journal-Constitution: True to form, Garner creates a strapping action character with as many foibles as muscles. Read more
Keith Phipps, AV Club: Elektra shoves Frank Miller's eponymous cold-blooded assassin into a PG-13-friendly adventure. Read more
Randy Cordova, Arizona Republic: Garner's one-note performance isn't the only thing crippling this undercooked comic-book adventure. There's a patchy script that bumps along in fits and starts, but never comes to life. Read more
Wesley Morris, Boston Globe: [Garner] does all the stuff you can see her do on Wednesday nights -- namely, some of her own stunt work in outrageous costumes -- but without an ounce of zeal, charisma, or purpose. Read more
Lisa Schwarzbaum, Entertainment Weekly: Elektra girds her loins with less intensity of purpose than if she were scanning the darkness for signs of copyright infringement. Read more
Philip Wuntch, Dallas Morning News: It's listless, lame and sloppy enough to make last year's Catwoman seem agile. Read more
Kim Morgan, L.A. Weekly: Comic book franchise or Victoria's Secret commercial? Read more
Jan Stuart, Newsday: The unremittingly dour screen adaptation of the Marvel Comics character. Read more
Stephen Whitty, Newark Star-Ledger: Half of it feels like pure, Saturday-morning cartoon show. Half feels like an attempt at an actual relationship drama. They should have listened to the first half. Read more
Jami Bernard, New York Daily News: Elektra is stripped of the unrepentant ferocity that made her a crossover hit in the first place. Here, she quickly succumbs to her gooey, maternal side -- which means if ever there's a sequel, she'll have no edge. Read more
Manohla Dargis, New York Times: The latest Hollywood movie to give comic books a bad name, Elektra stars Jennifer Garner as a superheroine who dons fetish-wear the color of blood before laying waste to every man in sight. Read more
James Berardinelli, ReelViews: Without a viable screenplay, there's nowhere for the character to go, and no way to avoid making her look silly. Read more
Roger Ebert, Chicago Sun-Times: Plays like a collision between leftover bits and pieces of Marvel superhero stories. Read more
Peter Travers, Rolling Stone: Jennifer Garner should have used an alias instead of putting her name on this breathlessly boring spinoff of Daredevil. Read more
Charles Taylor, Salon.com: The sad thing about Elektra is that it reveals that for all the millions of dollars now spent on them, comic-book movies are being made with no more distinction than the cheapest old Saturday-afternoon serials. Read more
Colin Covert, Minneapolis Star Tribune: What might have been at best a silly Xena-style martial-arts adventure meanders listlessly through swaths of relationship drama. Read more
Leah McLaren, Globe and Mail: That she is in fact a hired assassin on a $2-million contract killing is charmingly offset by the fact that she wears no makeup and ties her (albeit ridiculously) long brown hair back in a ponytail. Read more
Peter Howell, Toronto Star: The constant talk and tease of Elektra is sure to cause even more male frustration than Catwoman and Tomb Raider, where the femmes were similarly dolled up and then sexed down to appease the nanny censors. Read more
Claudia Puig, USA Today: Garner, adept as she is at physical stunts and action moves, is far more appealing when she's playing charming and adorable, as she did so winningly in 13 Going on 30. Read more
Brian Lowry, Variety: Alternately too talky to triumph as an action vehicle and too frenetic to be fleshed out to succeed as a drama. Read more
Benjamin Strong, Village Voice: Offers no surprises, and whether or not you'll appreciate its modest charms depends entirely on whether you too have been anticipating Garner's new outfit. Read more
Michael O'Sullivan, Washington Post: What it suffers from most is the sense of offhand storytelling that lies halfway between creative laziness and cost-cutting sloppiness. Read more
Joe Morgenstern, Wall Street Journal: The movie's dominant visual tone is bronzed grunge, and its emotional tone is depressive. Read more