As disturbing and densely beautiful as its opening image, a lofty forest that dwarfs the gangsters as they laugh over their kill.Read Full Review »
100
USA Today: Mike Clark
Cold and cut to the bone, the film is a primer in screen virtuosity. Standard action film clichés, like a face getting hit with a chair, get turned inside out; both film and actors somehow manage to seem realistic and stylized at the same time. [21 Sept 1990, Life, p.6D]Read Full Review »
83
ENTERTAINMENT WEEKLY: Lawrence O'Toole
If, however, you're looking for compelling characters, all the lights are blazing here but nobody's at home.Read Full Review »
80
Time: Richard Corliss
The Coens are artists too, and their cool dazzler is an elegy to a day when Hollywood could locate moral gravity in a genre film for grownups. [24 Sept 1990, p.83]Read Full Review »
80
Washington Post: Desson Thomson
Crossing should be watched not because it's their finest achievement (that's still to come), but because the brothers are keeping things refreshingly different and building a career, their minds still very much fixed on originality.Read Full Review »
75
CHICAGO SUN-TIMES: Roger Ebert
What it doesn't have is a narrative magnet to pull us through - a story line that makes us really care what happens, aside from the elegant but mechanical manipulations of the plot.Read Full Review »
60
LOS ANGELES TIMES: Sheila Benson
Heart may be what the movie needs most, but a bit of clarity wouldn't hurt either. Even here in gangsterland, where random characters are cherished and non sequiturs are considered wisecracks, there is a difference between complications and impenetrability, and this plot is a bloody thicket.. [5 Oct 1990, Calendar, p.F-10]Read Full Review »
30
The New York Times: Vincent Canby
Weightless. It is also, unfortunately, without much point at all... A movie of random effects and little accumulative impact.Read Full Review »
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