Reviews provided by RottenTomatoes
The best "message movie" in recent memory, it is also, so far, the best film of the new millennium.
Soderbergh demands a lot from his star here, and she delivers, perhaps more than even he expected.
Dallas Morning News:
It's a victory for Julia Roberts, co-star Albert Finney and director Steven Soderbergh. It's also a victory for the audience.
New York Times:
Not only is every plot development signaled far in advance, but nearly every scene in the film's long second section rings a variation of one of two themes: 1) Julia Roberts tells somebody off, or 2) Julia Roberts feels somebody's pain.
Even if Erin Brockovich leaves us contemplating its many loopholes, the verdict remains: some sellouts are worth the price of admission.
Los Angeles Times:
What Soderbergh can do as well as anyone is bring restraint, intelligence and subtlety to mainstream material, and what a difference that makes.
Paul Clinton (CNN.com),
A completly involving movie that will grab you from the first frame of film to the closing credits.
Roberts does what the best movie stars do. She makes you believe in Erin Brockovich as a living, breathing human being even as you're also constantly aware that you're watching Julia Roberts on screen.
The arc of the tale may be conventional, but Roberts, in her most forceful dramatic performance, allows us to take in every moment through fresh, impassioned eyes.
The film lacks focus and energy, the character development is facile and thin, and what about those necklines?
From the opening to the perfect final shot, Roberts is in nearly every scene of Erin Brockovich, and there isn't a second when we're not on her side.
[Soderbergh's] knack for getting career-defining turns from actors is intact.