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Reviews provided by RottenTomatoes
Glenn Lovell, San Jose Mercury News: Occasionally a film comes along that isn't very good but still rates a look-see because it taps into the zeitgeist. Read more
Ty Burr, Boston Globe: Short, suspenseful, funny, and profane. Read more
Terry Lawson, Detroit Free Press: Despite the film's blessed brevity -- it's only 75 minutes -- it seems as artificially padded as a Reno showgirl. Read more
Rene Rodriguez, Miami Herald: Loud and frantic and filled with all sorts of business, but it's also empty and inert, a creative exercise that would have played better as a 30-minute short. Read more
Richard Roeper, Ebert & Roeper: [A] taut thriller that hooked me from the outset. Read more
Moira MacDonald, Seattle Times: It's cinematic flash, tarted up with gritty gray-blue lighting and gimmicky photography. Read more
Mark Caro, Chicago Tribune: A lean, mean tension machine, setting up its premise, executing it with smarts, throwing in enough twists to keep things interesting, and wrapping it up before anyone can get fatigued or reflective. Read more
Stephen Holden, New York Times: Bogus on every level. Read more
Bob Longino, Atlanta Journal-Constitution: Not only lacks the thrills and drama one might hope, it's not even half as terrifying as those Carrot Top commercials for AT&T. Read more
Manohla Dargis, Los Angeles Times: If the whole thing flags, then dive-bombs at the midway point, it's not because Farrell and Schumacher aren't trying hard, but because the filmmakers struggle to wedge in some meaning where none belongs. Read more
Eric Harrison, Houston Chronicle: This is a slight story enlivened by good acting, crisp pacing and some graceful comic touches. Read more
Paul Clinton (CNN.com), CNN.com: A taut, compelling thriller that slowly sneaks up on you and nails you to your seat. Read more
Owen Gleiberman, Entertainment Weekly: For all the coiled skill of Farrell's performance, the character remains a frantic, one-note hustler who gets no more interesting to watch as he unravels. Read more
Rick Groen, Globe and Mail: This whole flick gives off a certain musty odour -- it's meant to be now but it sure doesn't smell that way. Read more
Philip Wuntch, Dallas Morning News: A tense, thought-provoking drama. Read more
Chuck Wilson, L.A. Weekly: Schumacher ... tries to hide Cohen's logic-free plotting behind swooping camera moves and multipanel split screens, but to no avail. Read more
John Anderson, Newsday: Nothing about Stu, in the end, is really important enough to justify the Sturm und Drang of Phone Booth or its tempest in a telecommunications teapot. Read more
Jack Mathews, New York Daily News: If this sounds like a Kafkaesque spoof thrown together for the annual Publicists Guild of America luncheon, Larry Cohen's script is only occasionally that clever. Read more
Rex Reed, New York Observer: A first-tier thriller, Phone Booth will make you think twice before you ever enter a public phone facility again, but while it curls your hair, it makes you think. Read more
Andrew Sarris, New York Observer: Raises more questions than it answers as it attempts to convince us that a moralistic sniper would torture a sleazy publicist into tears of guilt and remorse over what amounts to a few paltry, venial sins. Read more
James Berardinelli, ReelViews: The best way to describe Phone Booth is preposterous but entertaining. Read more
Roger Ebert, Chicago Sun-Times: The movie is Farrell's to win or lose, since he's onscreen most of the time, and he shows energy and intensity. Read more
Mick LaSalle, San Francisco Chronicle: A movie that combines a seriousness of purpose with an impish delight in craft, in a way Hitchcock would have appreciated. Read more
David Edelstein, Slate: The premise is admittedly a killer -- fun to think about, fun to see realized, not so fun to see screwed up in the last half-hour. Read more
Jeff Strickler, Minneapolis Star Tribune: Read more
Peter Howell, Toronto Star: Anyone inclined to argue with the logic of the story -- and there's certainly much to argue about -- is advised to just sit back and watch how Farrell's Stu unravels before our eyes. Read more
J. Hoberman, Village Voice: Absurdly set in some pre-cell-phone, post-Amadou Diallo alternate universe and generously stocked with logical inconsistencies, Phone Booth is best appreciated as hilarious pulp metaphor. Read more