Reviews provided by RottenTomatoes
Manohla Dargis, New York Times: Unlike Mr. Nighy, who puts an amusing camp spin on his every line and gesture, Mr. Sheen appears to have taken his monster duties seriously. Read more
Tasha Robinson, AV Club: Lycans, helmed by longtime creature-designer and first-time director Patrick Tatopoulos, just repeats the tale again at feature length. Read more
Joel Brown, Boston Globe: Director Patrick Tatopoulos was responsible for the creature effects in the two earlier installments, but he's not great at staging fights or directing actors. Read more
Glenn Whipp, Los Angeles Times: The third film in Screen Gems' grimly competent, vampires-versus-wolves franchise. Read more
Clark Collis, Entertainment Weekly: Sheen and Nighy do their best with the material, but this is easily the worst Underworld so far. Read more
Stephen Whitty, Newark Star-Ledger: It is not necessary to have seen the first two Underworld films to fully enjoy the third. It might be helpful, however, to first see a bartender. Read more
Roger Moore, Orlando Sentinel: The film would all be a complete bore if it weren't for the odd sparks of wit, and the sparks set off by Sheen and B-picture queen Mitra. Read more
James Berardinelli, ReelViews: The storyline essentially replicates that of Underworld and Underworld: Evolution, meaning that if you've seen one or both of them, there's no compelling reason to spend your hard earned dollars on the third. Read more
Jason Anderson, Toronto Star: Underworld: Rise of the Lycans is as unnecessary as it is uninvolving. Only fans desperate to learn how the whole vampire-werewolf conflict began are likely to get anything out of this viewing experience. Read more
Richard Corliss, TIME Magazine: I'd provide more detail of plot and dialogue, but the visual palette was way too dark for me to take legible notes; and frankly, though I saw it at a midnight screening hours ago, the movie just wasn't that memorable. Read more
Nigel Floyd, Time Out: The digital video images are blurry, the fight scenes messy, the editing jerky, and the derivative plot absurdly overwrought. Read more