Reviews provided by RottenTomatoes
Confidence is really no more than a B-movie with a particularly ace cast. But that's part of the pleasure.
Ebert & Roeper:
... Confidence does suffer a bit from some plot devices that haven't been original since The Sting, but it's a top-notch character study and a fun exercise in style.
Foley keeps the action moving swiftly enough that you don't have time to enter analytical mode.
New York Times:
If Confidence was made by people who have seen too many movies, it seems to be aimed at people who have seen too few.
Los Angeles Times:
A breath of stale air that likes to pretend hard guys always have a witty answer to every question and fatal bullets to the head leave tiny bloodless holes.
Paul Clinton (CNN.com),
A smart and sassy dark comedy that will keep you laughing and guessing until the very end.
Dallas Morning News:
The con game movie sometimes seems smitten with its own coolness, and the big scam doesn't offer much surprise. But watching the pieces fall into place is fun, and the cast has a great time.
The movie reels us in, plays to our baser instincts, invites our trust, flatters our skepticism, and pays us out again at the precise moment our guard is let down.
How much you're willing to give Foley and company a pass for this depends on how much you dig this genre's familiar elements.
New York Magazine/Vulture:
Surely there is something wrong with a movie that is supposed to make you go Wow! yet instead provokes a great big Huh?
Unlike the best cons, we can always see the con artists at work. But at least it's fun to welcome James Foley back to the game.
New York Daily News:
As pulp entertainment, Confidence is great fun and Foley's first good movie since the very different Glengarry Glen Ross.
New York Observer:
What it shares with most of its predecessors is a sterling cast, in this instance almost entirely male, and the willingness of several talented performers to play against type, with entertainingly comic effect.
For those who enjoy movies about heists, cons, and double-crosses, this will satisfy.
What a shame, that such a well-made movie is never able to convince us it is anything more than merely well-made.
A movie about a long con that, like its leading man, has no wit or style to speak of.
Minneapolis Star Tribune:
You know you're being manipulated, set up for the big switcheroo, but the players are so juicy and the plot blips along with such momentum that you can only hang on and enjoy the ride.
Globe and Mail:
Unlike with Mamet, there's no real payoff, not in insights, psychology or language -- just a clutch of anxious-to -charm movie stars, a puzzle-box plot, and an ending that encourages us to applaud venality.
On a level with Steven Soderbergh's blah remake of Ocean's Eleven.
A stylish, compelling crime caper full of smoothly navigated plot twists.
Lazily assembles a batch of movie stars, turns them loose on a script that reflects nothing so much as a committee interpretation of every other caper flick, and lets them bounce off each other like so many overpaid billiard balls.
Getting taken for a ride with someone at the controls -- these are the elements that keep us watching.