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Reviews provided by RottenTomatoes
Robert Denerstein, Denver Rocky Mountain News: Read more
Susan Stark, Detroit News: A movie that speaks well and truly to essentials in the kind of unhurried terms that most modern movies don't even dare to espouse. Read more
Philip Wuntch, Dallas Morning News: The film is visually stunning. Its images will stay with you long after their meaning has vanished. Read more
A.O. Scott, New York Times: Supernatural is not much better than subhuman: Hollywood is still, in the year 2000, disinclined to let black actors play human beings. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: [Redford] turns a solitary, often romanticized sport into a shimmering life metaphor. Read more
Kenneth Turan, Los Angeles Times: So meticulous in its craftsmanship and so earnest in its storytelling that it feels both physically and spiritually airbrushed. Read more
Eric Harrison, Houston Chronicle: It should be noted that the movie works uncommonly well for what it is; what's aggravating is the lost opportunity. Read more
Paul Tatara, CNN.com: Much of what happens, regardless of whether its supposed to be touched by magic, seems patently phony. Read more
Steven Rosen, Denver Post: The principal characters, forced in the bright light of the fairway to work not just as allegory but as viable, identifiable human beings, become ludicrous. Read more
Lisa Schwarzbaum, Entertainment Weekly: Relies on a ritualized filmmaking style that leaches [Redford's] story of excitement. Read more
Jan Stuart, Newsday: It's a feel-nothing movie, too calculated and cautious to locate anything that might resemble a genuine or spontaneous life moment. Read more
Peter Rainer, New York Magazine/Vulture: Another lusciously produced, emotionally clammy Redford enterprise -- forced, phony mythmaking filled with tinged sunsets and full moons. Read more
Andrew Sarris, New York Observer: Read more
James Berardinelli, ReelViews: The men and women inhabiting this motion pictures are types, ciphers, and mouthpieces for slogans, not individuals we can believe in and care for. Read more
Roger Ebert, Chicago Sun-Times: It handles a sports movie the way Billie Holiday handled a trashy song, by finding the love and pain beneath the story. Read more
Stephanie Zacharek, Salon.com: Most of the racial issues inherent in the setup of Bagger Vance are so painstakingly submerged that they barely register. Read more
Bob Graham, San Francisco Chronicle: The competition sequences on the golf links, with the splendid camera work of Michael Ballhaus, and exactly the right amount of digital tweaking, are the real revelations of this film. Read more
Amy Taubin, Village Voice: More mushy than mystical. Read more