Reviews provided by RottenTomatoes
This is no tribute to the war dead, but an unthinking betrayal of them -- they've been drafted again, this time to supply a climax to a second-rate tearjerker.
Los Angeles Times:
There's a decency about this movie that's almost palpable. It's not trying to pump us up with false jingoism or the sins of the past. Jewison, a Canadian, probably approaches the entire subject with a mediatory mood.
The scene at the memorial is one of the film's best, but director Jewison fails to find in it anything close to the level of emotional force that the same scene in Mason's book has.
In essence, In Country is a well-turned variation on the quest to find a father that shows up in the folk tales of almost any culture.
New York Times:
In Country means to capture the deep tragedy at the center of pedestrian lives. Instead, it becomes a pedestrian film.
The movie is like a time bomb. You sit there, interested, absorbed, sometimes amused, sometimes moved, but wondering in the back of your mind what all of this is going to add up to. Then you find out.
Sounds like your basic TV movie, sunk by noble intentions. But here well meaning translates into well done.
Jewison's post-Vietnam movie concentrates on bereavement, with the consequence that it's decent but dull.
Norman Jewison usually is a commanding storyteller, but In Country is a film with two stories that fail to add up to something greater.
Though Bruce Willis has top billing as a troubled Vietnam veteran, British whizbang Emily Lloyd virtually squeezes him off the screen as his live-in niece, whose soldier father died before she was born.