59
Metascore
19 reviews · Provided by Metacritic.com
- 100San Francisco ChronicleMick LaSalleSan Francisco ChronicleMick LaSalleAnybody who talks about True Romance has to start with the writing. It's dazzling. In scene after scene, Tarantino surprises the audience even while coming up with dialogue that rings much more true than anything you could have anticipated. [10 Sept 1993]
- 75Rolling StonePeter TraversRolling StonePeter TraversThe blistering confrontation scene between Hopper and Walken -- both in peak form -- will be talked about for years. It's pure Tarantino: a full-throttle blast of bloody action and verbal fireworks.
- 75Chicago Sun-TimesRoger EbertChicago Sun-TimesRoger EbertTrue Romance, which feels at times like a fire sale down at the cliche factory, is made with such energy, such high spirits, such an enchanting goofiness, that it's impossible to resist. Check your brains at the door.
- 70TV Guide MagazineTV Guide MagazineBlends and recycles elements of scores of crime and road movies, from "Bonnie and Clyde" to "Badlands" but it does so with enough energy and verve to create something entirely fresh and infectiously entertaining.
- 67Austin ChronicleMarc SavlovAustin ChronicleMarc SavlovConsistently entertaining.
- 63ReelViewsJames BerardinelliReelViewsJames BerardinelliDespite Tony Scott's occasional blundering, True Romance is still a visceral roller coaster.
- 60Chicago ReaderJonathan RosenbaumChicago ReaderJonathan RosenbaumAs usual, Tarantino's sense of fun is infectious but fairly heartless.
- 50VarietyVarietyIt doesn't add up to enough, as preposterous plotting and graphic violence ultimately prove an audience turnoff.
- 30Washington PostWashington PostDespite its noir references and evocations, this slick film, directed by Tony Scott from Quentin Tarantino's script, is a preposterously bloody mess, as is the plot.
- 10Los Angeles TimesKenneth TuranLos Angeles TimesKenneth TuranIt is hard to say what is more dispiriting about True Romance the movie itself or the fact that someone somewhere is sure to applaud its hollow, dime-store nihilism and smug pseudo-hip posturing as a bright new day in American cinema. [10 Sept 1993]