Reviews provided by RottenTomatoes
By pitting Cruise against Nicholson in the film`s final courtroom confrontation, Sorkin and Reiner are pitting two notions of masculinity and two notions of stardom against each other.
The driving force of the story is watching Cruise`s character develop some backbone and staying power.
Los Angeles Times:
A brisk and familiar courtroom drama of the old school, as pleasant to watch as it is predictable, Men more than anything else is a tribute to pure star power.
As you may have suspected, Jack Nicholson steals the show. His Col. Nathan Jessep isn't in a lot of scenes, but when he's there, you can't take your eyes off him.
The literally in-your-face camera work can easily expose an actor's weaknesses, but, with the lens framed on Nicholson's bulldog visage, he lets loose with volcanic fury. His demagoguery and gung-ho self-righteousness are something to behold.
The film's entire cast and crew prove up to the task, and there's something both comfortably old-fashioned and blazingly contemporary about Aaron Sorkin's screenplay.
That the performances are uniformly outstanding is a tribute to Rob Reiner (Misery), who directs with masterly assurance, fusing suspense and character to create a movie that literally vibrates with energy.
New York Times:
The screenplay is a good one, directed with care and acted, for the most part, with terrific conviction.
I'm usually a sucker for courtroom dramas, but Rob Reiner's highly mechanical 1992 feature... kept putting me to sleep.
Directed by Rob Reiner, from Aaron Sorkin's adaptation of his hit Broadway play, A Few Good Men is a thrillingly effective crowd pleaser.
The whole film, with its steady, important-picture pacing, its foursquare visual style, and its pseudo-profundity, is a piece of glorified banality.
A Few Good Men is one of those movies that tells you what it's going to do, does it, and then tells you what it did.
An extraordinarily well-made movie, which wastes no words or images in telling a conventional but compelling story.
The intellectual cut-and-thrust of the courtroom is largely absent here, and the denouement seems slick, arbitrary, and derived from the Captain Queeg catalogue.
The same histrionic fireworks that gripped theater audiences will prove even more compelling to filmgoers due to the star power and dramatic screw-tightening.
Men is full of loaded, manly moments, great clashes of will and excellent buzz cuts.
It's a grand undertaking that wrangles with the heavy questions that cropped up at Nuremberg and My Lai, questions that deserve and get lots of imposing shots of monuments and not a little swashbuckling from the big stars.