Reviews provided by RottenTomatoes
Mary F. Pols,
The movie stays aloft on the sparks provided by Banks, Ed Burns (playing a skeptical cop), Anthony Mackie (as a cop to be skeptical about) and particularly, Bell and Rodriguez.
Noisy street crowds and an "Attica!" shoutout allude to Sidney Lumet's classic "Dog Day Afternoon," suggesting what "Ledge" director Asger Leth is hopelessly, vainly reaching for.
"...it didn't entirely suck but sort of just petered out..."
Trusting an action drone like Worthington to anchor the human drama is a fatal mistake.
Wall Street Journal:
En route to its kitchen-sink climax, "Man" manages to both amuse and provoke, to cleave to convention and promote ideas.
The film really lives or dies on the integrity of its plot mechanics, with nary a theme to subvert or exploit. And to that end, it winds up as a calamitous heap of mangled gears, snapped levers, and rusty springs.
You sense that someone could have made a good movie with this material. Unfortunately, Leth didn't.
"Man on a Ledge" is so cliched and reheated, it almost feels like a parody of a generic action picture -- only no one seems to be in on the joke.
The movie doesn't give an audience anything that makes sense. How does Harris smoke a cigar that appears to weigh more than he does? And whence is Worthington's accent?
This noirish thriller is as self-knowingly ludicrous and thoroughly enjoyable as Fritz Lang's Beyond a Reasonable Doubt or While the City Sleeps.
There's no escaping the sheer terror of a guy standing on a ledge that high up. "Man on a Ledge" delivers the sweats it intends to deliver.
For a film with such a straightforward title, Man on a Ledge turns out to be remarkably convoluted.
Eric D. Snider,
Dumb, easy-to-swallow fun, more or less - the sort of movie that makes people say, "Well, that wasn't as bad as I thought it would be."
To his credit, director Asger Leth (Ghosts of Cite Soleil) gets right to the business at hand where the set-up is concerned, but it's in the execution that this would-be thriller falls flat.
Los Angeles Times:
Oh, that the actual human dynamics of the unfolding story could have been as dramatic, as on the edge as that ledge.
A clumsily made thriller with very few thrills.
This is one of the few movies that, with its skyscraper action scenes, probably needed to be made in 3-D. As it is, though, it's barely in 2-D - and really, I'm not sure it needed to be made at all.
The film's descent into generic silliness feels more painful than it should for a late-January thriller.
New York Daily News:
Like Cassidy, Leth never quite knows whether to jump or stand firm. Too often, he just winds up wobbling in the wind.
New York Post:
[A] jumble of cop- and heist-movie cliches, dotted with appearances by actors you liked in something else...
On balance, Man on a Ledge is fun, but I left the theater feeling disappointed and cheated, as if the filmmakers set me up for something great they ultimately couldn't deliver.
The movie cuts back and forth between two preposterous plot lines and uses the man on the ledge as a device to pump up the tension.
Minneapolis Star Tribune:
The solution to "now what do we do for 103 minutes?" is to pile as many silly distractions into the running time as possible.
Globe and Mail:
Credibility takes a nose-dive long before its protagonist is separated from his perch.
It's not a despicable film, to be sure, but it's a time-filler at best.
This embraces its own lunacy readily enough, never aiming for anything more than the disposable thrills it delivers thick and fast.
The film succumbs to cliches, grows convoluted and outlandish, and winds up dead on arrival.
This cloddishly contrived suspenser is too busy to bore, but too farfetched to thrill.
With his pickled shark's smile, Harris is a welcome presence left with regrettably little to do.