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Reviews provided by RottenTomatoes
Robert Denerstein, Denver Rocky Mountain News: Read more
Susan Stark, Detroit News: Read more
John Hartl, Seattle Times: It boldly asks what you'd be willing to sacrifice to gain that freedom. And what more could you ask from a Fourth of July movie? Read more
Philip Wuntch, Dallas Morning News: The Patriot delivers what it promises. Read more
Elvis Mitchell, New York Times: A gruesome hybrid, a mix of sentimentality and brutality that suggests a Lethal Weapon movie directed by Norman Rockwell. Read more
Hap Erstein, Atlanta Journal-Constitution: A rip-snorting good flick that breaks the cinematic jinx against Revolutionary War stories. Read more
Kenneth Turan, Los Angeles Times: Yet for its real virtues, The Patriot is never completely satisfying. Read more
Jonathan Rosenbaum, Chicago Reader: Reflects our wish to redeem ourselves through sacrifice. But that entails more than briefly nodding to our flaws, magnifying what we like best about our past, and waving it around, hoping the euphoria will resolve any contradictions. Read more
Steven Rosen, Denver Post: It's not being unpatriotic to wish for a better, more original movie. Read more
Owen Gleiberman, Entertainment Weekly: As long as it stays on the battlefield, The Patriot is a brutishly compelling broad-canvas entertainment. Read more
Liam Lacey, Globe and Mail: Make no mistake about it: The Patriot is a cartoon, even if it does have real people playing the parts. Read more
Peter Rainer, New York Magazine/Vulture: The period decor and costuming and production design may be in the overhoned Hollywood classic style, but the plotting is pure melodrama. Read more
Andrew Sarris, New York Observer: Read more
Bob Thomas, Associated Press: Having fought the British centuries before in Braveheart, Gibson brings the same intensity to The Patriot. Read more
Roger Ebert, Chicago Sun-Times: I enjoyed the strength and conviction of Gibson's performance, the sweep of the battle scenes, and the absurdity of the British caricatures. Read more
Andrew O'Hehir, Salon.com: A grand yarn with a sense of the weight of history and an awareness that the winners are often those who have lost the most. Read more
Mick LaSalle, San Francisco Chronicle: Emmerich's battle scenes may look authentic to anyone who has ever stared hard at a history book, but in every other way the film is long, empty and bogus. Read more
J. Hoberman, Village Voice: A movie of cornball sentiment, humorously anachronistic dialogue, and expensive Colonial Williamsburg sets. Read more
Stephen Hunter, Washington Post: There's no majesty, no tragedy, no feeling here; it's all FX and costuming and casting directors. Read more