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Reviews provided by RottenTomatoes
Rene Rodriguez, Miami Herald: The kind of movie that rockets so far beyond the line of credibility and so deeply into the realm of utter stupidity, you start to wonder if the filmmakers aren't putting you on. Read more
Moira MacDonald, Seattle Times: Certainly more genuinely creepy than many recent thrillers, and the supporting cast is effective. Read more
Mark Caro, Chicago Tribune: If you broke down Mr. Brooks in terms of structure, twists and momentum, you might give it high marks. The thing does move. To where is the problem. Read more
David Edelstein, New York Magazine/Vulture: If our movies are any guide, we're a nation of latent serial killers. Read more
Jonathan Rosenbaum, Chicago Reader: This is one of those slick, violent, ridiculous Hollywood jobs that make little sense as a story, a comment on life, or a depiction of characters, but are moderately enjoyable in their spinning of movie conventions. Read more
Joe Morgenstern, Wall Street Journal: Mr. Brooks manages to be deeply loathsome -- no small feat for a film that's shallowly amateurish. Read more
Keith Phipps, AV Club: Here are two things to know about Mr. Brooks going in: 1) Demi Moore plays a millionaire cop, and 2) that's one of the less ludicrous elements. Read more
Bill Muller, Arizona Republic: [Costner] gives one of the best performances of his career. Read more
Ty Burr, Boston Globe: A fertile example of the Studio Film Gone Berserk, where too many characters and too many story lines geometrically progress until a level of blissful absurdity is reached. Read more
Kevin Crust, Los Angeles Times: The film probably tilts the balance too far in favor of Mr. Brooks at the expense of the uninspired Det. Atwood. Read more
Amy Biancolli, Houston Chronicle: In Mr. Brooks, Bruce A. Evans' fitfully subversive approach to the genre, we get a few fresh takes on the psychology of serial killing. Read more
Peter Rainer, Christian Science Monitor: It would be nice to report that Costner's bid paid off but Mr. Brooks, aside from the low-key menace he exudes, isn't much. Read more
Michael Booth, Denver Post: Mr. Brooks has more tonal shifts than a Philip Glass concert, never deciding if it's a thriller, a noir, a comedy or a farce. Read more
Tom Long, Detroit News: Mr. Brooks is a killer. Read more
Owen Gleiberman, Entertainment Weekly: Mr. Brooks begins promisingly, but it grows steadily more preposterous as it goes along, becoming the first feel-good serial-killer movie. Read more
Scott Foundas, L.A. Weekly: The movie has the air of a project that kicked around Hollywood for years earning periodic praise from bleary-eyed script readers duped by its labored quirkiness and from former matinee idols eager to reinvent themselves as brooding method actors. Read more
David Germain, Associated Press: When your best character is a serial killer's imaginary friend, you know your movie's in trouble. Read more
David Denby, New Yorker: The movie is so well made, and so compelling as a portrait of a man at war with himself, that, right up until the end, many people will probably be entertained by its intricately preposterous story. Read more
Stephen Whitty, Newark Star-Ledger: You know you're in real trouble when Demi Moore's playing the most sympathetic character you have. Read more
Jack Mathews, New York Daily News: Totally absurd and equally entertaining. Read more
Lou Lumenick, New York Post: What starts out as a delightful black comedy and social commentary ends up, at best, as a guilty pleasure where I had a hard time sorting out the intentional from the unintentional laughs. Read more
Rex Reed, New York Observer: Please don't tell me it was supposed to be played for laughs all along, because I don't buy it. Too late to save it from doom, the twists and snafus in Mr. Brooks start coming too fast for the audience to absorb, and the movie turns delusional. Read more
Roger Moore, Orlando Sentinel: Intriguing but inept. Read more
Steven Rea, Philadelphia Inquirer: Slickly shot, coolly edited, oozing dark, deadpan humor, Mr. Brooks finds Costner at the top of his game. His moves are subtle, his expressions flat, his emotions clamped down, contained. Read more
James Berardinelli, ReelViews: Mr. Brooks is a curious mix of the campy and the intelligent, of high concept and low psychology. In spite of these contradictions, or perhaps because of them, it works. Read more
Stephanie Zacharek, Salon.com: Costner seems to be having some fun playing the respectable guy with an evil secret, but [director] Evans' murky storytelling just weighs him down. Cook has all the charisma of a misshapen mud pie. Read more
Mick LaSalle, San Francisco Chronicle: The film emerges as a subtle commentary on a disquieting aspect of our current culture -- a commentary on the nature of a masturbatory voyeurism and how it fosters heartlessness by turning other people into objects. Read more
Richard Roeper, Chicago Sun-Times: A classic guilty pleasure -- a great-looking, weirdly compelling thriller with two pedal-flooring performances from Costner and William Hurt. Read more
Rick Groen, Globe and Mail: I count a baker's dozen of movie plots here, a tally so impressive that the qualifier -- all of them are inane -- seems almost ungenerous. Read more
Susan Walker, Toronto Star: Quite a few plot lines and character quandaries remain unresolved. And yet the movie makes sense as it stands. After all, one can never know what makes a psychopath tick. Read more
David Jenkins, Time Out: This wannabe highbrow horror-thriller is a graceless, unfocused piece of work with a central narrative as tonally schizophrenic and wayward as its lead. Read more
Melissa Anderson, Time Out: [Director] Evans keeps flirting with a potentially rich idea only to surround it with indigestible amounts of silliness. Read more
John Anderson, Variety: It should provide discriminating audiences the antidote they seek to Clooneys-and-Caribbean fever, while giving Costner's career a considerable kick in the credibility department. Read more
Robert Wilonsky, Village Voice: Bloody disappointing. Read more
Stephen Hunter, Washington Post: What compels isn't the overwrought plot, but the simpler things, the dynamics between the actors, the avuncularity between old pros Costner and Hurt and the class condescension between Costner and Cook. It has a fascinatin' rhythm. Read more