Critics’ reviews

True Lies (1994)

10 reviews from 10 publications. Critics’ score 60: 5 positive, 2 mixed, 2 negative.

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60
Positive
5
Mixed
2
Negative
2

Most critics find True Lies an entertaining action-comedy, with praise clustering around James Cameron’s inventive set pieces and the film’s willingness to laugh at its own excesses. Jamie Lee Curtis draws particular approval for making the marital comedy work, while Tom Arnold’s comic support earns praise even from a detractor. The favourable reviews see the exaggerated action and self-aware humour as a successful combination.

The reservations concern the treatment of women, crude stereotypes and a marital-deception subplot that some find unconvincing or mean-spirited. Length and thin plotting also draw criticism, though several reviewers enjoy the spectacle despite these objections. The spread is wide: The Hollywood Reporter finds the domestic comedy touching, while the Los Angeles Times argues that the humiliation of women undermines the entertainment. The Independent offers the sharpest dissent, finding an incoherent jumble of genres and clichés, with Arnold providing its sole source of praise.

Empire
1 January 2000 · Caroline Westbrook
80*

The critic calls it a glorious self-parody and unbeatably good fun that succeeds where other Schwarzenegger efforts failed, thanks to its over-the-top tone and Cameron's action set pieces. She singles out the spectacular final half-hour with helicopters, limos and Harrier jets as a heart-stopping highlight.

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Radio Times
★★★★ · Alan Jones
80

The critic praises the spectacular action sequences, strong comedy from Tom Arnold and Jamie Lee Curtis's transformation into a confident hero. Despite noting the film's implausibility and sexist elements, it is called unbeatable entertainment on an excitement level.

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RogerEbert.com
15 July 1994 · ★★★/4 · Roger Ebert
75

Praises the inventive and audacious action sequences and Cameron's mastery of the form but criticizes the overly long runtime, the unconvincing adultery subplot, and the perfunctory plot.

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The AV Club
15 July 2024 · Tomris Laffly
70*

The critic praises the film as a rare, fun, and technically impressive standalone action-comedy that holds up for its set pieces and lightness. It notes the film's controversial elements around gender and stereotypes but defends its entertainment value and Curtis's performance.

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Time Out
26 September 2014 · GA
60*

Half the film delivers fast, crude hi-tech action with explosions and cartoon violence to satisfy baser instincts. The middle marital crisis section is amusing thanks to Curtis's performance despite its offensive take on relationships, while the finale offers neck-breaking violence.

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Los Angeles Times
14 July 1994 · Kenneth Turan
50*

Highlights Cameron's imaginative action set pieces and the film's self-kidding elements but argues that crudeness, mean-spiritedness, and especially the humiliating treatment of women undercut the entertainment value.

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The New Yorker
18 July 1994 · Anthony Lane
40*

Finds the film an odd mix of expensive action spectacle and a crude, misogynistic middle section about marital deception; praises the thrills at the beginning and end but is unsettled by the tone and treatment of women.

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The Independent
11 August 1994 · Adam Mars-Jones
10*

The critic deems the film a disastrous mess and reverse masterpiece of everything that can go wrong, an incoherent explosion of genres and clichés with no sense of audience engagement. He singles out the waste of Cameron's talents and only praises Tom Arnold's sidekick performance amid the chaos.

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The Hollywood Reporter
11 July 1994 · Duane Byrge

The critic finds the film a box-office powerhouse thanks to its explosive action sequences in Cameron's signature style. It balances big-screen thrills with a touching comedic subplot about the spy's home life and marriage.

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Eye for Film
8 December 2008 · Stephen Carty
80*

The critic finds True Lies entertaining and well-balanced as an action-comedy, with strong set pieces and performances that keep viewers grinning throughout. They single out the chemistry and delivery from Schwarzenegger, Curtis and Tom Arnold, along with inventive chases and the film's self-aware tone.

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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