---
title: "A Few Good Men"
year: 1992
kind: "film"
canonical: "https://film.one/film/a-few-good-men"
fi1m_id: "a-few-good-men"
imdb_id: "tt0104257"
tmdb_id: 881
wikidata_id: "Q108946"
fi1m_score: 79
critics_score: 64
critics_reviews: 6
published: "2026-09-13"
updated: "2026-09-18T08:38:15.622545+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# A Few Good Men (1992)

Directed by Rob Reiner · 2h 18m · MPA R · Drama

## Identity

A Few Good Men

- **Canonical:** https://film.one/film/a-few-good-men
- **Type:** Film
- **Fi1m ID:** a-few-good-men
- **IMDb ID:** tt0104257
- **TMDB ID:** 881
- **Wikidata ID:** Q108946
- **Same entity:** https://www.imdb.com/title/tt0104257/, https://www.themoviedb.org/movie/881, https://www.wikidata.org/wiki/Q108946

**Fi1m score: 79** · Critics 64 from 6 reviews

*In a sentence:* Jack Nicholson behaves as though the courthouse came with his uniform

> Rob Reiner makes *A Few Good Men* an absorbing courtroom drama, with Tom Cruise holding his own against Jack Nicholson. Aaron Sorkin’s dialogue is sharper than the film’s thinking about military responsibility.

## Synopsis

In the nation’s capital, a dispute over honour and truth draws a group of military officers into a US government courthouse. Lt. Daniel Kaffee (Tom Cruise) and Lt. Cdr. JoAnne Galloway (Demi Moore) are among those involved, with Capt. Jack Ross (Kevin Bacon) and Lt. Sam Weinberg (Kevin Pollak). Col. Nathan R. Jessep (Jack Nicholson) brings the authority of senior rank to the conflict. As military duty comes under scrutiny, questions of loyalty and personal responsibility complicate the effort to establish what is true, and what honour requires.

## Review

Rob Reiner’s *A Few Good Men* is an absorbing courtroom drama that knows the pleasure of watching an able speaker meet someone who will not be impressed. Aaron Sorkin’s screenplay supplies the verbal contests, and Reiner gives the actors room to make them matter. Its treatment of military responsibility is too tidy. For anyone who likes the genre, though, the performances alone justify the evening.

Tom Cruise makes Lt. Daniel Kaffee’s confidence both useful and faintly irritating, a sensible choice for a film so interested in the uses of authority. His quickness gives Sorkin’s dialogue pace without making every exchange feel rehearsed. There is enough effort beneath the assurance to stop competence becoming dull. Demi Moore’s Lt. Cdr. JoAnne Galloway provides a sterner presence, though Sorkin asks her to carry rather too much of the film’s conscience. Moore makes that seriousness credible; we wish the writing allowed her the same ease it grants Cruise.

Jack Nicholson gives Col. Nathan R. Jessep the ease of a senior officer who has grown accustomed to deference. His amusement is particularly unpleasant, because it makes disagreement seem beneath his notice. We found him frightening. That relaxed expectation of obedience makes his authority disturbing before we have had time to consider what he believes. The performance leaves room for us to understand why someone might willingly follow him.

The supporting performances keep this from becoming a contest between two stars. Kevin Bacon gives Capt. Jack Ross enough conviction to make him seem worth listening to, rather than merely someone the leading man must answer. Kevin Pollak’s Lt. Sam Weinberg has a welcome steadiness, while Kiefer Sutherland makes Lt. Jonathan Kendrick’s severity uncomfortable to watch. Reiner gets useful differences out of these actors: authority can be persuasive, companionable or threatening, and the uniforms do not make the men interchangeable.

Robert Richardson’s cinematography keeps the uniforms imposing and the faces readable. J. Michael Riva’s production design lends the government surroundings a respectability that makes the questions being asked there more uncomfortable. Neither makes the official setting so grand that it overwhelms the actors. Editors Steven Nevius and Robert Leighton keep the talk moving while allowing reactions to register, so a pause can matter as much as a reply. Marc Shaiman’s music is less helpful when it encourages a gravity the actors have already supplied.

The weakness is Sorkin’s eagerness to make each moral position readily recognisable. Duty, loyalty and responsibility are difficult subjects, and the script sometimes makes being articulate seem sufficient to settle them. We can enjoy a well-turned answer and still feel that an awkward question has been disposed of too quickly. Moore’s constrained role belongs to the same problem: the writing is sure what each person stands for, and does not often let them stray from it.

Measured against the courtroom drama’s familiar promises, however, this works: the exchanges grip, the opposing personalities are distinct, and the actors make listening an active business. At 138 minutes, it gives itself plenty of room, and not every discussion needs quite so much ceremony. The attraction is the chance to watch capable performers press one another without the direction constantly demanding notice. Choose it for an evening of forceful talk, and allow yourself to disagree with the confidence of the answers.

*Fi1m score 79, published 13 September 2026.*

## What the critics say

Most critics find A Few Good Men an engaging courtroom drama, with praise concentrated on the performances and Rob Reiner’s controlled direction. Jack Nicholson is the clearest point of agreement: even the negative reviews welcome his forceful presence. The favourable notices also credit Tom Cruise, while Aaron Sorkin’s dialogue earns praise for its sharpness and handling of justice, patriotism and accountability. For its admirers, familiar courtroom machinery still produces compelling entertainment.

The spread is wide, however, and the disagreement concerns more than originality or talkiness. Time Out finds the legal exchanges short on intellectual challenge and Cruise unconvincing in uniform. The New Yorker goes further, arguing that the solemn pacing and contrived moral choices make the film seem more substantial than it is, though it praises Nicholson and Kevin Bacon. What the positive reviews accept as effective dramatic construction, the dissenters see as a way of simplifying difficult questions.

## Straight answers

**Is A Few Good Men worth watching?**

*A Few Good Men* is worth watching for anyone who enjoys a courtroom drama built on forceful talk, and we scored it 79. Tom Cruise and Jack Nicholson press one another well, and the supporting cast keeps it from becoming a two-man contest. Aaron Sorkin's dialogue is sharper than the film's thinking about military responsibility, so expect tidy answers to hard questions.

**How long is A Few Good Men, and what is it rated?**

*A Few Good Men* runs 2h 18m and is rated R by the MPA in the US. It is a drama film.

**Where can I watch A Few Good Men in the US?**

*A Few Good Men* is available to rent from Amazon Prime Video from $3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is A Few Good Men, and is it suitable for children?**

*A Few Good Men* is a UK 15 and US R, and it is a talking film rather than a violent one, set almost entirely in a courtroom and its surroundings. What unsettles is Jack Nicholson's Colonel Jessep, whose relaxed expectation of obedience we found frightening. It is not for younger children, but older teenagers with patience for 138 minutes of argument should be fine.

**How does A Few Good Men compare to The Verdict?**

*A Few Good Men* is the brisker and more entertaining of the two, while [*The Verdict*](https://film.one/film/the-verdict) is the more moving and the angrier. Rob Reiner's film runs on Aaron Sorkin's quick exchanges and star performances; Sidney Lumet's runs at a solemn pace on Paul Newman's worn-down lawyer. Choose the first for an evening of sharp talk, the second when you want a courtroom drama that earns its feeling.

**What should I watch after A Few Good Men?**

After *A Few Good Men*, try [*The Verdict*](https://film.one/film/the-verdict) (1982, Fi1m 84): A lawyer’s damaged pride complicates a courtroom drama that earns its anger. Then [*Paths of Glory*](https://film.one/film/paths-of-glory) (1957, Fi1m 93): Military obedience and personal responsibility examined with far less faith in justice; and [*The Caine Mutiny*](https://film.one/film/the-caine-mutiny) (1954, Fi1m 76): Another troubled chain of command, with excellent acting and more room for doubt.

### Reviews we read (8)

- **Empire**, Emma Cochrane (80/100, inferred): The critic praises it as a timeless thriller with career-best work from Nicholson, Cruise and Moore under Reiner's direction, highlighting Aaron Sorkin's sharp, morally complex dialogue and classic scenes as the real star. [Read](https://www.empireonline.com/movies/reviews/good-men-review/)
- **Radio Times**, John Ferguson (4/5): Nicholson shines in a scene-stealing cameo as the hard-nosed marine officer in this star-laden courtroom drama. Reiner directs crisply, building to compelling climactic exchanges despite some talkiness. [Read](https://www.radiotimes.com/movie-guide/b-fyc57k/a-few-good-men/)
- **The Times**, Geoff Brown (80/100, inferred): The film is a devilishly seductive entertainment, impressively acted all down the line and directed with much quiet skill. It delivers familiar courtroom drama goods with a flourish despite lacking originality in its script. [Read](https://www.thetimes.com/article/a-few-good-men-0ffz8f0wbm5)
- **The Independent** (75/100, inferred): The critic calls it a barnstorming courtroom drama that grips big issues like patriotism, justice and accountability, with strong performances from Nicholson as the menacing colonel and Cruise as the young lawyer confronting his father's legacy. [Read](https://www.independent.co.uk/arts-entertainment/film-all-present-and-correct-a-few-good-men-and-almodovar-s-labyrinth-of-passion-1566123.html)
- **Time Out**, BC (40/100, inferred): The film is scripted by Aaron Sorkin from his play but lacks the intellectual cut-and-thrust of the courtroom drama compared to similar works. Cruise's performance is criticized as unconvincing in uniform, with Nicholson's cameo as the standout element. [Read](https://www.timeout.com/movies/a-few-good-men)
- **The New Yorker**, Michael Sragow (30/100, inferred): The critic finds the film a yuppie version of 'The Caine Mutiny Court-Martial' that puts on stale airs of importance and reduces moral issues to glorified banality through its steady, important-picture pacing and pseudo-profundity. While praising Jack Nicholson's energetic turn as the megalomaniac colonel and Kevin Bacon's full-bodied performance, it criticizes the script's moral jury-rigging and the lead actors' limitations. [Read](https://www.newyorker.com/magazine/1992/12/14/tell-it-to-the-marines)
- **The Hollywood Reporter**, Duane Byrge: The critic praises the film as a crisp adaptation that should succeed at the box office, awards, and with critics. Strong lead performances from Tom Cruise and Jack Nicholson, along with Rob Reiner's direction and Aaron Sorkin's screenplay, are highlighted as key strengths. [Read](https://www.hollywoodreporter.com/movies/movie-news/a-few-good-men-review-aaron-sorkin-tom-cruise-1236074595/)
- **The New York Times**, Vincent Canby: The critic praises Rob Reiner's entertaining adaptation of the Broadway courtroom drama, crediting Jack Nicholson's vicious, funny, and superbly reptilian performance as Col. Jessep with suffusing the entire production with weight and point. The film is described as a big commercial entertainment of unusually satisfying order, though it is not without some structural and thematic shortcomings. [Read](https://www.nytimes.com/1992/12/11/movies/review-film-two-marines-and-their-code-on-trial.html)

## Details

- **Director:** Rob Reiner
- **Director:** Rob Reiner
- **Screenplay:** Aaron Sorkin
- **Cinematography:** Robert Richardson
- **Editor:** Robert Leighton, Steven Nevius
- **Music:** Marc Shaiman
- **Production design:** J. Michael Riva
- **Costume design:** Gloria Gresham
- **Producer:** Andrew Scheinman, Rob Reiner, David Brown
- **Cast:** Tom Cruise as Lt. Daniel Kaffee; Jack Nicholson as Col. Nathan R. Jessep; Demi Moore as Lt. Cdr. JoAnne Galloway; Kevin Bacon as Capt. Jack Ross; Kiefer Sutherland as Lt. Jonathan Kendrick; Kevin Pollak as Lt. Sam Weinberg; James Marshall as Pfc. Louden Downey; J. T. Walsh as Lt. Col. Matthew A. Markinson
- **Runtime:** 2h 18m
- **Certificate (MPA):** R
- **Release (the US):** 11 December 1992
- **Genres:** Drama
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 1992); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Nominee, 1992)
- **Budget:** $40 million
- **Box office:** $243 million
- **Trailer:** https://www.youtube.com/watch?v=2T2pyqrr8UM

## Where to watch in the US

- Amazon Prime Video: rent $3.99, uhd
- Amazon Prime Video: buy $14.99, uhd

*Checked 2026-09-13.*

Also available in: AR, AT, AU, BE, BG, BR, CA, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, IE, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, TR, US. Add `?region=XX` to this URL for another country.

## Awards

- NAACP Image Award for Outstanding Supporting Actor in a Motion Picture 1994: NAACP Image Award for Outstanding Supporting Actor in a Motion Picture (nominated)
- Academy Awards 1993: Best Film Editing (nominated); Best Picture (nominated); Best Sound (nominated); Best Supporting Actor (nominated)
- Chicago Film Critics Association Award for Best Supporting Actor 1993: Chicago Film Critics Association Award for Best Supporting Actor (won)
- MTV Movie Award for Best Female Performance 1993: MTV Movie Award for Best Female Performance (nominated)
- MTV Movie Award for Best Male Performance 1993: MTV Movie Award for Best Male Performance (nominated)
- MTV Movie Award for Best Movie 1993: MTV Movie Award for Best Movie (won)
- MTV Movie Award for Best Villain 1993: MTV Movie Award for Best Villain (nominated)
- MTV Movie Award for Most Desirable Male 1993: MTV Movie Award for Most Desirable Male (nominated)
- Southeastern Film Critics Association Award for Best Actor 1993: Southeastern Film Critics Association Award for Best Actor (won)
- American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases 1992: American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases (nominated)
- Directors Guild of America Award for Outstanding Directing – Feature Film 1992: Directors Guild of America Award for Outstanding Directing – Feature Film (nominated)
- Golden Globes 1992: Best Actor – Motion Picture Drama (nominated); Best Director (nominated); Best Motion Picture – Drama (nominated); Best Screenplay (nominated); Best Supporting Actor – Motion Picture (nominated)

## If you liked this

- *The Verdict* (1982), Fi1m 84: A lawyer’s damaged pride complicates a courtroom drama that earns its anger. — [Fi1m page](https://film.one/film/the-verdict.md)
- *Paths of Glory* (1957), Fi1m 93: Military obedience and personal responsibility examined with far less faith in justice. — [Fi1m page](https://film.one/film/paths-of-glory.md)
- *Court* (2014): For a quieter, angrier account of how legal procedure wears people down.
- *The Caine Mutiny* (1954), Fi1m 76: Another troubled chain of command, with excellent acting and more room for doubt. — [Fi1m page](https://film.one/film/the-caine-mutiny.md)
- *Saint Omer* (2022): A courtroom drama that refuses to make another person’s life easily explicable.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/a-few-good-men