Reviews provided by RottenTomatoes
Despite its action-in-a-can mentality, the movie's generic roots gain a new post-terror specificity that lend it an almost bombastic relevance it was never meant to have.
It's the stuff of every mediocre action movie ever made and enough to make you wonder if it isn't finally time for the genre to die a quiet, dignified death.
Ebert & Roeper:
[A] slick thriller with a couple of neat plot twists and a return to form for the fiftysomething Arnold.
Dallas Morning News:
The movie straddles the fence between escapism and social commentary, and on both sides it falls short.
New York Times:
An exhausted rehash of Mr. Schwarzenegger breaking through red tape to struggle against his nemesis of the moment.
Collateral Damage is, despite its alleged provocation post-9/11, an antique, in the end. As are its star, its attitude and its obliviousness.
A leaden, predictable action flick that would be of no interest to anyone but Schwarzenegger fans.
Los Angeles Times:
The violence in Collateral Damage takes on a more disconcerting tone but ultimately it's business as usual for the action star.
Paul Clinton (CNN.com),
Without September 11, Collateral Damage would have been just another bad movie. Now it's a bad, embarrassing movie.
Globe and Mail:
A competent, if choppy, example of thriller hokum that's more entertaining than either the director's or star's last few outings.
The problem isn't that the movie hits so close to home so much as that it hits close to home while engaging in such silliness as that snake-down-the-throat business and the inevitable shot of Schwarzenegger outrunning a fireball.
There are many reasons to protest this Arnold Schwarzenegger flick about firemen and terrorists. The best one is that it's a bad movie.
Minneapolis Star Tribune:
It will be remembered less for its generic content than for the real-life events that give it an eerie resonance.
This is the sort of burly action flick where one coincidence pummels another, narrative necessity is a drunken roundhouse, and whatever passes for logic is a factor of the last plot device left standing.
Schwarzenegger tries hard to act but in the end the foolishness of the thriller formula becomes ridiculous.