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Reviews provided by RottenTomatoes
Moira MacDonald, Seattle Times: An unpredictable, enjoyable mob comedy. Read more
Michael Phillips, Chicago Tribune: When Leoni's character learns what Frank does for a living, her look of puzzlement is marvelously subtle. You Kill Me has a lot of little moments like that. Read more
Jonathan Rosenbaum, Chicago Reader: This crime comedy has such a goofy script and such an eccentric cast that it kept me curious about what would happen next. Read more
Scott Tobias, AV Club: One of those rare occasions where going too low-key means missing many comic possibilities. Read more
Kerry Lengel, Arizona Republic: One of those self-consciously quirky indie films that will strike some as comic genius while leaving the rest of the audience scratching their head. Read more
Ty Burr, Boston Globe: It's a predictable but acridly pleasant 12-step bonbon: self-help noir. Read more
Kevin Crust, Los Angeles Times: We've seen the inner lives of hit men and mobsters rendered innumerably in recent years on film and television, but You Kill Me does it in a satisfyingly comedic way, loaded with easily identifiable idiosyncrasies. Read more
Bruce Westbrook, Houston Chronicle: A film whose deft blend of action thrills and gallows humor packs a jaunty kick and a firing-range boom. Read more
Peter Rainer, Christian Science Monitor: It has its amusements. Read more
Michael Booth, Denver Post: Leoni is a welcome sight here, temporarily giving up attempts at sunny-sexy blond roles and going with her sarcastic nature. Read more
Tom Long, Detroit News: A film that manages to find sunbeams between the corpses and drunks. Read more
Owen Gleiberman, Entertainment Weekly: [A] precious, inert dud of a hitmen-are-people-too comedy. Read more
Terry Lawson, Detroit Free Press: Who knew there was such a high burnout rate in hit men? And who knew they suffered from so many varieties of treatable neuroses? And who knew they were such amusing guys? Read more
Tom Maurstad, Dallas Morning News: With strong lead performances and sure-footed direction, You Kill Me isn't terrible, it's just not nearly as smart or interesting as it should be or as it seems to think it is. Read more
Scott Foundas, L.A. Weekly: Mixing the comic and the thrilling in roughly inverse proportion to what one would have hoped, Markus and McFeely's script supposedly kicked around Hollywood for years before attracting Sir Ben's interest, and its age shows. Read more
Gene Seymour, Newsday: You Kill Me may not look like much. But you root for it anyway, if only because it tries so hard to do the right things in a different way. Read more
Stephen Whitty, Newark Star-Ledger: Eventually it's just too much of a bad thing -- and only leaves you wondering why you began it at all. Read more
Jack Mathews, New York Daily News: John Dahl returns to the quirky black-comedy genre where he began his career in the late '80s. It's good to have him back there. Read more
Lou Lumenick, New York Post: You Kill Me really belongs to Kingsley, whose character's deadpan reactions to his new environment are priceless. He really kills. Read more
Andrew Sarris, New York Observer: Along with the splendid principals, [the secondary cast] round out an extraordinarily accomplished ensemble. Read more
Roger Moore, Orlando Sentinel: Read more
Jim Emerson, Chicago Sun-Times: No offense to Sir Ben, who does a mean deadpan, but his performance here is frequently more dead than pan -- which, given the material, was probably the wisest acting choice. Read more
Mick LaSalle, San Francisco Chronicle: In the moment, You Kill Me is never less than mildly entertaining, and it's almost never more than that. Read more
Liam Lacey, Globe and Mail: Given a choice between a dark film with comic elements and a comedy that purports to be edgy, the filmmakers took the easy way out. Read more
Peter Howell, Toronto Star: A strong performance by the reliable Kingsley, and a tartly sweet one from Leoni, keeps You Kill Me from turning into the bad joke the title implies. Read more
Richard Schickel, TIME Magazine: For an hour and a half it exerts its own preposterous reality, making you believe it -- and like it. Read more
Mark Holcomb, Time Out: The story's grasping, eager-to-displease setup never establishes enough depth to be fully engaging, let alone metaphorically significant -- and why else make a movie about a psychotic kicking hooch in order to be a better killer? Read more
Scott Bowles, USA Today: Surely there aren't many emotionally fragile mobster stories left in the Hollywood arsenal. But at least Kill is a pretty good shot with the laughs. Read more
Ronnie Scheib, Variety: With an eclectic mix of strong-minded thesps all pulling in slightly different directions, this shape-shifting genre hybrid successfully commingles 12-step therapy, romantic comedy and hit-man thriller. Read more
Stephen Hunter, Washington Post: A completely amoral world delivered with wit and incisiveness, and great twists. Read more