Reviews provided by RottenTomatoes
San Jose Mercury News:
You can practically feel director Ron Howard standing over your tear ducts, straining to extract every last salty drop.
Detroit Free Press:
Tells us little about paranoid schizophrenia, less about genius, and next to nothing about Nash.
Ebert & Roeper:
Screenwriter Akiva Goldsman has fashioned a powerful narrative that's brought to life by the outstanding cast and Howard's assured direction.
Los Angeles Times:
There is more to admire in A Beautiful Mind than you might suspect, but less than its creators believe.
Roger Deakins' handsome cinematography gives the film the look of a leather-bound classic. What keeps Mind from greatness, though, is some awkwardness in the screenplay, and the film's odd relationship with the true story of John Nash.
Dallas Morning News:
It too neatly pigeonholes the complexities of the dramatic situation, but the performances carry the show.
Paul Clinton (CNN.com),
Despite the 'Hollywoodization' of Nash's personal life, A Beautiful Mind is a thoughtful, provocative film about human frailties and human strength.
New York Times:
The movie can -- indeed, should -- be intellectually rejected, but you can't quite banish it from your mind.
Humanistic and engaging piece of popular entertainment.
New York Post:
Terrific, surprisingly gripping true-life tale of a math genius battling madness.
Director Ron Howard's deftness in suggesting the subjective experience of Crowe's character, who's later diagnosed with schizophrenia, makes for inspirational narrative, but certain plot points are so reductive.
Wall Street Journal:
It isn't the device that's so crude, but the execution, which turns Nash's persecutory demons into nuisances that won't leave us alone.
It's not a crime for the script to gloss over the thornier aspects of Nash's story, but the film seems totally unconvincing, squeezing a real life into a formula that's simultaneously more palatable and less interesting.
A Beautiful Mind is Howard's best movie, and easily one of the best movies of the year.
Despite a shaky West Virginia accent, Crowe does exemplary work here, his best since The Insider.
Like a good college education itself, A Beautiful Mind broadens your perspective on life.
Russell Crowe sometimes summons up one of the most powerful depictions of mental illness I have ever seen with barely an eyelid flicker separating manifestations of sickness from utterly sane displays of creative concentration.
It's sad to see a beautiful mind whittled down by such a plain one.
Screenwriter Akiva Goldsman's clever solution is to turn the story of a troubled academic into a Hollywood thriller. How? He makes things up.
Crowe pulls out the stops, but he looks too bullish and controlled for such a pitiable victim.
New York Daily News:
The result is one of the most successful attempts to make math look sexy, even if the movie strays - gallops, really - from the details of the actual life of Nobel Prize-winner John Forbes Nash Jr.
A beautifully written, effectively acted, and meticulously crafted effort.
Sadly, Howard blands out in the final third, using old-age makeup and tear-jerking to turn a tough true story into something easily digestible. Until then, you'll be riveted.
The biggest load of hooey to stink up the screen this year.
Globe and Mail:
In the hands of a better director than Ron Howard, such a protean mix of reason and madness could have made for a tale of Shakespearean complexity. Instead, all we get is a feel-good flick.
Since love conquers all, you know everything will turn out okay. It's practically a mathematical formula.
The result is mainstream moviemaking at its highest, most satisfying level.
At its most effective when it seems to lose the plot in a scrambled second act that posits the Cold War as a collective paranoid delusion, the film reverts to type (and to fact) for a sentimental anti-climax.
Among the most affecting ever made about co-existing with mental demons.
Consistently engrossing as an unusual character study and as a trip to the mysterious border-crossing between rarified brilliance and madness.
The movie illustrates with poignant (if reductive) clarity the awful no-exit paradox of a paranoid delusion -- that its most incapacitating aspect is its terrifying realness.