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Reviews provided by RottenTomatoes
Terry Lawson, Detroit Free Press: It's all modestly clever but decidedly under-baked. Read more
Rene Rodriguez, Miami Herald: It taxes the patience of even the most willing viewer with its sheer nonsense. Read more
Erik Lundegaard, Seattle Times: The lack of imagination, given the initial premise, is astounding. Read more
Michael Wilmington, Chicago Tribune: A fairly well done but deadly dull futuristic thriller about lifelong memory-recording implants and guilt, this movie wastes more talent, including lead Robin Williams, than an all-star TV poker game. Read more
Richard Roeper, Ebert & Roeper: It's nice to see Mira Sorvino who has sort of wobbled about since winning the Oscar about ten years ago she is very good in this film. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: Naim has conjured up a sci-fi conundrum worthy of Philip K. Dick, but he fails to flesh it out, choosing instead to hop around several subplots. Read more
Bill Muller, Arizona Republic: It'll take more than a fancy computer chip to help me remember this one. Read more
Ty Burr, Boston Globe: Williams gives a performance that's honest and carefully wrought but on some level still a stunt. Read more
Kevin Thomas, Los Angeles Times: The Final Cut lays waste to its provocative premise and a fine performance from Robin Williams with a murky story line that renders the film not worth the effort. Read more
Eric Harrison, Houston Chronicle: This first feature from writer-director Omar Naim is unusually accomplished. Read more
Michael Booth, Denver Post: It's a dark and thought-provoking exploration of where our strange marriage of voyeurism and self-absorption may lead us just a few years from now. Read more
Owen Gleiberman, Entertainment Weekly: Read more
Gregory Kirschling, Entertainment Weekly: If there are decent, human, post-Good Will Hunting roles for the actor somewhere between the manic and the catatonic, Williams hasn't found them. Read more
Dallas Morning News: First-time writer Director Omar Naim has created a moody, unsettling minimalist sc-fi tale that explores the malleability of the memories that may or may not make us who we are. Read more
Ella Taylor, L.A. Weekly: Having given away the key to Williams' character in the opening scenes, the movie becomes so cluttered with concept and design, it fails to get even a toehold on the humanistic subtext it's clearly reaching for. Read more
Stephen Whitty, Newark Star-Ledger: It's not quite as smart as it thinks it is. Read more
Jami Bernard, New York Daily News: The Final Cut can't cope with its own weirdness. Read more
Stephen Holden, New York Times: Robin Williams, looking like the world's most constipated mortician, stars in a chilly sci-fi fantasy saddled with distractions and cheesy subplots. Read more
Jay Boyar, Orlando Sentinel: This premise sounds like the sort of a screwy, non-idea that a young film student might dream up while editing a documentary. And according to the press notes, that's just what happened. Read more
Roger Ebert, Chicago Sun-Times: Williams has extraordinary success in channeling this other person. How strange that the same actor can play some of the most uninhibited of all characters, and some of the most morose. Read more
Mick LaSalle, San Francisco Chronicle: The concept of The Final Cut is so fascinating and has so many implications that it balances out some real flaws in the story. Read more
Jeff Strickler, Minneapolis Star Tribune: Williams is as creepy as we've ever seen him. Read more
Leslie Felperin, Variety: Striking visuals help, but pic won't make the cut with genre fans or the arthouse crowd. Read more
Dennis Lim, Village Voice: The director's leaden touch and the plot's insistent banality obscure any conceptual resonance. Read more
Desson Thomson, Washington Post: This debut from writer-director Omar Naim is cut-and-dried sci-fi thriller business. Read more