Most critics come down in favour, and the praise gathers around Neil Jordan’s handling of the story as a thriller: the reviews keep returning to its pace, its scale and the momentum of its set pieces, with several noting the cross-cutting and the atmospheric camerawork and design. Liam Neeson’s Collins is the other point of agreement, described as vital, magnetic and blood-curdling by turns, and a number regard this as Jordan’s most ambitious film to that point.
The reservations are almost all about history. A recurring complaint is that Collins is painted as a saint and Éamon de Valera as a villain, with The Guardian objecting to specific liberties, including an exaggerated massacre. Roger Ebert finds the Julia Roberts romance unnecessary. Empire is alone in thinking Neeson lacks charisma, and The Independent reserves its warmest words for Alan Rickman. The spread is wide, running from outright enthusiasm to The New York Times, which calls the film sugarcoated and sloganeering.
