Reviews provided by RottenTomatoes
Detroit Free Press:
The real strength of Troy rests in how everything on screen appears within the realm of possibility.
Despite all its oversized spectacle, the movie feels small and unimportant, just the latest in a growing trend of large-scale, ancient-war epics.
As summer-movie entertainment, Troy delivers the Trojan horse, and then some.
Ebert & Roeper:
... several of the scenes are just some of the best battle scenes I've seen in a long time.
This hulking, flawed epic stomps about with furious thunder, managing to entertain even as director Wolfgang Petersen turns parts of Homer's epic poem into an afternoon soap opera.
What's missing from the experience is the poetry only a director can bring to an enterprise this sprawling.
Los Angeles Times:
Although screenwriter Benioff's attempt to make the dialogue contemporary is sincere enough, the final product is flat and soap opera-like more often than not.
Achilles is cute and all, and he knows how to fight -- he apparently learned his stuff from Hong Kong action movies -- but there's nothing dramatically compelling about the way he's presented here.
Paul Clinton (CNN.com),
There is a lot of guts and glory here, but not a lot of heart.
Thanks to Bana and O'Toole, Troy partakes in the power and pleasure of a story with such classic pedigree.
Dallas Morning News:
Mr. Petersen achieves a noble mood of dignity. Dignity is a forgotten virtue with many contemporary filmmakers, but he manages a majestic overview of both the glory and the folly of combat.
It does possess the aura of the ancient -- at least within the parameters of the Hollywood epic.
New York Daily News:
There are breathtaking vistas, taut political intrigues, dangerous romantic liaisons and one of the greatest wardrobes ever assembled for a costume drama.
New York Observer:
It's massive, opulent, passionate and -- unlike most summer time-wasters -- surprisingly intelligent.
New York Times:
This big, expensive, intermittently campy example of Hollywood Homerism is desperate to be regarded as a classic. It isn't, but it's not so bad either.
All of the visual majesty that hundreds of millions of dollars can buy cannot obscure the perfunctory and unsatisfying development of the major characters.
The movie sidesteps the existence of the Greek gods, turns its heroes into action movie cliches and demonstrates that we're getting tired of computer-generated armies.
Troy isn't so much a simplified retelling of The Iliad as a re-imagined version of it, told wholly without imagination.
Often plays like what it is: a clunky toga-and-sandals picture, with Hollywood compromises abounding.
Minneapolis Star Tribune:
The opening scene involves two thousand-man armies marching determinedly toward each other across a field the size of Rhode Island. And that's one of the more modest battles.
Solid entertainment, true to the '50s formalism that so inspires its grand production design, ornate costumes, proverbial cast of thousands and sometimes painfully earnest dialogue.
This is The Iliad as a WWE SmackDown: violent fights, snappy insults and a connoisseur's idolatry of beautiful brawn.
A numbingly reliable tick-tock of expository set pieces alternating with vast CGI-aided battle scenes.
A gripping, well-told adaptation of one of the oldest human dramas.
Despite a sensationally attractive cast and an array of well-staged combat scenes presented on a vast scale, Petersen's highly telescoped rendition of the Trojan War lurches ahead in fits and starts for much of its hefty running time, to OK effect.
As a war movie, Troy is strangely noncommittal -- the slaughter has a numb, ineffective, over-processed tone to it.
In a role that requires larger-than-life dimensions, [Pitt's] pretty terrific.
Offers several popcorn buckets' worth of good old-fashioned time at the movies.