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Reviews provided by RottenTomatoes
Terry Lawson, Detroit Free Press: Hyper-assaultive. Read more
Connie Ogle, Miami Herald: There's nothing here you haven't seen before, especially if you own a PlayStation. Read more
Erik Lundegaard, Seattle Times: Diesel makes a fine action star, and some of the fight scenes are cool, but resistance is recommended. Read more
Mark Caro, Chicago Tribune: The tightness of the Pitch Black horror-movie structure has been replaced by sprawl and lots of back story, geography and interstellar politics. Read more
Richard Roeper, Ebert & Roeper: The Chronicles Of Riddick is never dull, but it's far, far, far too pretentious. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: A sci-fi disaster on a par with the notorious John Travolta bomb Battlefield Earth. Read more
Bill Muller, Arizona Republic: The Chronicles of Riddick is many things, but it's never dull. Read more
Ty Burr, Boston Globe: A hodgepodge of Lord of the Rings, Starship Troopers, and the more recent Star Wars films. Read more
Manohla Dargis, Los Angeles Times: Weighted down with money, pretension and Diesel's tenuous importance -- and not enough story story story -- the follow-up to Pitch Black inverts nearly everything that made the first film an effective-enough shocker. Read more
Eric Harrison, Houston Chronicle: Sprawling and ponderous. Read more
Paul Clinton (CNN.com), CNN.com: A big, cheesy sci-fi flick tailor-made for a young male audience looking for things that go boom. Read more
Owen Gleiberman, Entertainment Weekly: Mostly a ponderous chronicle. Read more
Stephen Cole, Globe and Mail: The script is terrible -- a confounding mish-mash of action-thriller chases, sci-fi travelogue and phony political intrigue. Read more
Gary Dowell, Dallas Morning News: An enjoyably pulpy sci-fi saga that has rough patches. Read more
Robert Abele, L.A. Weekly: With writer-director David Twohy's mega-budget follow-up to his Pitch Black, what was once a purring engine has become a gas-guzzling, accident-prone Humvee. Read more
John Anderson, Newsday: Essentially a long-winded excuse for action sequences and Diesel making menacing faces, mostly over his left shoulder. Read more
Lisa Rose, Newark Star-Ledger: A static-filled space opera that is less thrill-a-minute than thrill-an-hour. Read more
Jami Bernard, New York Daily News: Despite a few goofily entertaining moments that are so over the top they are instant camp, the movie suggests that the hero's name derives from 'ridiculous.' Read more
Stephen Holden, New York Times: In bodybuilding terms, this overmuscled sequel to Pitch Black is all bulk and no definition. Read more
Roger Moore, Orlando Sentinel: A messy, messianic slasher/blaster in the Matrix Half-Loaded tradition, all nonsense plot and baroque costumes, sets and special effects. Read more
James Berardinelli, ReelViews: Although The Chronicles of Riddick offers its share of solidly entertaining moments, it doesn't hold together as a single, coherent motion picture experience. Read more
Roger Ebert, Chicago Sun-Times: An exercise in computer-generated effects. Read more
Mick LaSalle, San Francisco Chronicle: An inane film rendered sometimes laughable by an atmosphere of dead-serious reverence. Read more
Colin Covert, Minneapolis Star Tribune: Plot? Character? Tension? Purpose? Sorry, wrong auditorium. Read more
Time Out: The sequel baton pass at the finale is pretty nifty, but it's surely asking too much to think the filmmakers could leave us wanting more. Come to think of it, much, much less would have been best. Read more
David Rooney, Variety: The Chronicles of Riddick may not quite gain entry to the hallowed pantheon of interstellar cheese of a Battlefield Earth, but it's not far behind. Read more
Benjamin Strong, Village Voice: A preening outer-space costume drama staged as a backdrop for its leading man's muscles. Read more
Desson Thomson, Washington Post: The muddy, convoluted story revolves around the star's cool-guy poses and one-liners. Read more
Ann Hornaday, Washington Post: The Chronicles of Riddick doesn't hark back merely to the classic horror or science fiction canon but to nearly every single cinematic genre in the book, from westerns to film noir to sword-and-sandal epics. Read more