The Last Boy Scout (1991)

Cole calls the film a delightfully nasty, sardonic action noir and says Arrow’s UHD presents it in all its grimy glory. He singles out Tony Scott’s more-is-more visual style, especially its smoggy, heat-shimmered Los Angeles.

Berry finds the film nearly five-star action entertainment, recommending it to fans of the genre. She praises the fast, funny one-liners and Willis and Wayans’ delivery, while criticizing the thin portrayal of women.

The review presents the film as a successful, familiar action comedy with an ironic edge. It praises the elements as well executed and the smart-mouthed tone.

The accessible page does not reveal the critic’s verdict. Its headline frames the film around a struggling private eye, but offers no specific praise or complaint.

Ebert gives the film a mixed verdict, finding its buddy-action formula more familiar than compelling. He singles out the film’s hard-edged, jokey tone as part of its appeal.

Jones calls it a flashy, foul-mouthed action film that sacrifices plot for shoot-outs and car chases. He says the engaging chemistry between Bruce Willis and Damon Wayans, along with their snappy put-downs, lifts it above the ordinary.

The critic finds the film entertaining but ultimately unremarkable, calling it a mindless shoot-'em-up. They praise its amusing juvenile put-downs and elaborate action sequences, while noting that the tangled plot is often resolved through violence.

Wilmington finds the film slick, empty, and overly confident in its blood-soaked escapism. He praises the editing, Bill Medley’s singing, Noble Willingham’s villainy, and Bruce Willis’s weary performance.

Edwards finds the film an overlooked, entertaining action movie that falls short of its potential. He particularly praises Shane Black’s sharp script and inventive action, while criticizing the treatment of women and the awkward ending.