Critics’ reviews

The Last of the Mohicans (1992)

9 reviews from 9 publications. Critics’ score 81: 7 positive, 0 mixed, 0 negative.

Back to our review of The Last of the Mohicans

81
Positive
7
Mixed
0
Negative
0

The consensus is firmly positive, with critics praising Michael Mann’s combination of romantic adventure, forceful action and careful historical detail. Daniel Day-Lewis draws repeated approval as Hawkeye, giving the heroism enough conviction to carry the old-fashioned storytelling. The battle scenes attract particular praise for their staging and physical intensity, while the landscapes, visual style and sound help make the frontier setting persuasive. Several reviews also credit the film with sustaining feeling amid the fighting.

The differences concern how readily critics accept the solemn romance and relentless force. Radio Times finds the dialogue too contemporary for the setting, despite admiring the spectacle. The Los Angeles Times argues that Mann’s intensity comes at the expense of gentler qualities. The New Yorker is more sceptical about the film’s seriousness and mythmaking, though it still finds the result stirring and enjoyable. The spread is chiefly one of enthusiasm rather than opposing verdicts.

RogerEbert.com
25 September 1992 · ★★★½/4 · Roger Ebert
88

Ebert finds Mann's film a worthy and entertaining successor to the 1936 version, improved over Cooper's novel. He praises Daniel Day-Lewis as the ideal Hawkeye and the balance of historical details with the central romantic adventure story.

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Empire
1 January 2000 · Ian Nathan
85*

The critic praises the film as a stirring and wonderful work of old-fashioned storytelling with grand heroism, authentic romance and thunderous action. He singles out the meticulous historical accuracy and production detail, from costumes and weapons to the construction of Fort William Henry and the visceral siege battle.

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The Telegraph
6 December 2013 · Marc Lee
85*

The review praises Michael Mann as a consummate filmmaker at home in the lush, primeval forests of the American frontier for this masterful 1992 opus. It highlights Daniel Day-Lewis in career-defining form as Hawkeye, the extraordinary visual verve and sound design of the action sequences (including ambushes with musket smoke, tomahawks and scalpings), and the emotional depth Mann brings to the landscapes and mountaintop climax of vengeance, sacrifice and honour.

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Radio Times
★★★★ · Alan Jones
80

This exciting mix of high adventure, romance and history is presented in a colossal, glossy package with well-staged action and grandiose scale evoking classic Hollywood epics. Mann's effort is admirable but undermined by dialogue that sounds too contemporary for the 1750s setting.

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Time Out
10 September 2012 · GA
75*

The film is an epic romantic adventure charting Hawkeye's role in the 1757 frontier war, blending cultures and winning love amid battles. Mann excels with magnificent battle scenes, physical action, lyrical moments and stylish imagery, creating superior mainstream entertainment despite shifting focus to romance.

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The New Yorker
28 September 1992 · Terrence Rafferty
70*

Rafferty calls the film awfully, solemnly silly yet enjoyable and stirring, crediting its mythic visuals and Day-Lewis's heroic performance. He notes it seduces through haircuts, landscape, and mythmaking in the style of its time.

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Los Angeles Times
25 September 1992 · Kenneth Turan

Turan describes the film as hair-raising, hard, fast and brutal, supercharged with intensity by Mann. He singles out the adrenalized battle scenes and historical accuracy for praise while noting it sacrifices gentler virtues.

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Variety
27 August 1992 · Lisa Nesselson

Nesselson praises the rich source material, good performances especially Day-Lewis as the woodsman, and well-staged brutal battle sequences. She notes fluid pacing building to an action-packed finale.

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Eye for Film
6 July 2010 · Nick Da Costa
85*

The critic hails the film as a swashbuckling masterpiece driven by a barnstorming central performance from Daniel Day-Lewis. Mann is praised for balancing action and mood while staying true to the story's matinee roots.

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Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate