When listing the most influential media outlets in the United States, The Los Angeles Times and The New York Times, the two newspapers with the highest circulation and deepest impact in the country's largest cities, cannot be ignored; meanwhile, The Hollywood Reporter and Variety are the most professional and authoritative media in the film industry.
At present, both The Los Angeles Times and The Hollywood Reporter have praised A Few Good Men, and the usually serious and cautious Variety followed closely. After the first week of screenings, they wrote a professional review, offering an in-depth analysis of the film.
"From the age of fifteen to twenty-five, Hugo Lancaster has been navigating the acting world for ten years. Over this decade, he has experienced highs and lows, from innocence to rebellion to maturity. In the world of film, Lancaster completed his process of growth and self-discovery, allowing his long-neglected acting talent to shine once more.
In Scent of a Woman, the naive yet resolute Charlie leaves a striking impression. This time, in A Few Good Men, Daniel learns responsibility, determination, and justice. In those light brown eyes, one can see the vigor of youth and the charm of maturity.
As a courtroom film, the main plot of A Few Good Men is not particularly novel: military incidents occur, investigations take place, black secrets are uncovered, obstacles are encountered, self-improvement happens, and justice is achieved. From the very start of the film, the outcome can be anticipated.
However, A Few Good Men excels in story connection, suspense creation, climax layering, and character development. Especially in the courtroom debate scenes, one can see profound command of dialogue and pacing, making the film exceptionally compelling.
It is worth praising the new screenwriter Aaron Sorkin for his solid foundation, and director Rob Reiner for his outstanding sense of the big picture. Yet, the core element that ties all these brilliant aspects together is the lead, Daniel Kaffee. Although, due to time constraints, the film only briefly sketches Kaffee's character, it is enough to portray a vivid image: a playful, sharp-minded individual with fervor and exceptional talent. Combined with Lancaster's performance, the role bursts with astonishing charm.
The investigative process is itself a journey of growth. At first, Kaffee is like a big boy: mischievous and free-spirited, yet full of curiosity, never shrinking from difficult cases. His interactions with the suspects are sharp and frank, yet also reveal a steadfast adherence to his principles. Like a child, he is playful but retains a thread of innocence at his core.
As setbacks, threats, and challenges accumulate during the investigation, Kaffee's thinking becomes clearer. Rationality gradually overtakes emotion, leading to hesitation and subtle fear—a necessary stage in personal growth. True maturity, however, is not cynical retreat but finding balance among opposing forces while upholding one's principles and ultimately achieving the desired outcome. After confusion, Kaffee finally summons the courage to directly challenge the military, adhere to his principles, and strike a decisive blow against the forces behind him.
Of course, this is an idealized ending, but we must not ignore the motivational value of such idealism. This aspirational emotion represents hope. It may not make the world better, but it counteracts forces that might make it worse.
In addition to inspiration, A Few Good Men also explores human nature and personal redemption, giving the story a deeper theme.
Nicholson plays the proud and arrogant Colonel Jessup, in charge of a base on the Cuban front, responsible for the country's security. He boasts of the value of his work and describes the dangers of his situation, creating a closed space where harsh rules can be enforced, and legitimizing this through so-called justice.
In reality, this is a classic example of gaining privilege through fear, just as during financial crises, wars, or social unrest, when certain forces exploit situations to gain advantages, often receiving public approval. The Rodney King incident became a bargaining chip for African Americans to claim equality and rights. National security is a long-standing justification for privilege, and the military is a natural space to maintain such exclusivity. The military emphasizes obedience, extending to a sense of collective honor and fostering loyalty and unity.
The soldiers Dawson and Downey are typical products of military culture. They possess strong identity and pride in being soldiers and a sense of belonging to the team beyond imagination. As they say, the military gives them certainty: orders are issued, and all they need is to obey and execute. As described in Full Metal Jacket (1987), recruits are trained from enlistment to accept input and output results according to orders.
The "Code Red" exemplify this process, targeting laggards or traitors who endanger team honor, efficiency, or safety. Driven by team recognition and obedience, these individuals are punished, leading to the accidental death in Sandiego. Yet Dawson and Downey never feel they are wrong, as they were simply following orders.
Colonel Jessup justifies all his actions as for the military and national security, ignoring the dangers hidden behind such privileges. He attempts to reshape an ordinary soldier according to his will, disregarding the soldier's heart condition. After his plan fails, he uses these privileges to cover his mistakes and tries to erase them under the pretense of "protecting the nation."
Through Kaffee's perspective, the film reveals the essence of such privilege, exposing the latent dangers within this closed system. In the end, the law breaks this fortress, offering hope while also demonstrating the power of rationality. During this process, some in the military are arrested, some cannot endure the internal torment and commit suicide, and after Dawson and Downey are acquitted, others feel pain, loss, and confusion as they must leave the army. Some experience self-realization, recognizing that their violent actions toward comrades suppressed freedom, human rights, and even life. This self-awareness, combined with Kaffee's personal growth, brings additional inspiration and hope to the film.
Finally, the outstanding performances of the actors in the film must be mentioned. Demi Moore delivered the role of the disciplinarian with precision, Jack Nicholson was excellent as always, and the greatest revelation was Hugo Lancaster's powerful presence. His performance was controlled yet fluid, precise and delicate, condensing a man's growth and transformation into a single event, and together with Nicholson, he delivered the most brilliant on-screen confrontation of the year.
A constellation of stars and a brilliant script created this exceptional work."
Variety magazine ultimately gave an 85-point rating, joining the chorus of praise for the film. The second wave of reviews that followed continued this encouraging trend.
Notably, Rolling Stone, which had previously given negative reviews to Scent of a Woman, astonishingly awarded the film a perfect score—the only one among twenty-three media outlets—stating, "The breathtaking performances, captured through Rob Reiner's lens, exude an irresistible charm, blending suspense and character development to create an enchanting and uplifting masterpiece." The vibrant 100-point score reflected Rolling Stone's unparalleled admiration for the film.
Entertainment Weekly also offered a positive review: "Like all courtroom films, A Few Good Men is supported by brilliant performances, with Lancaster and Nicholson's exceptional acting imbuing the work with an entertaining yet sharp Hollywood style." The 90-point rating was also a rare high score.
As for another major media outlet, The New York Times, their review noted, "This film's central idea radiates through many thought-provoking details, elevating the work beyond a simple courtroom drama into social and cultural reflection." This was clearly praise, though in terms of scoring, The New York Times was stricter: 75 points, respectable but not high.
TV Guide commented, "The final confrontation between Kaffee and Jessup makes up for the film's lengthiness and dull moments." The 60-point rating barely passed, placing them in the critical camp.
The San Francisco Chronicle, with influence on the West Coast rivaling the Los Angeles Times, disliked the film, saying, "Overly deliberate arrangements ruin the actors' excellent performances. Director Rob Reiner's mediocre skills sink the film into a boring quagmire." Their 50-point rating clearly reflected their disapproval.
With both praise and criticism, the media's overall score for A Few Good Men settled at 78 points. Although it did not reach the 80-point threshold, overall acclaim prevailed, particularly in recognizing Lancaster's performance—almost every outlet acknowledged his excellence. Even those who denied the film's brilliance could not deny the lead actor's remarkable talent.
Additionally, it is fortunate that the audience rating gave A Few Good Men a shining "A," showing viewers' affection for the film. This likely explains the film's outstanding opening weekend box office.
Amid this tidal wave of attention, before the second-week box office decline could even appear, countless media outlets and programs extended offers to Lancaster, all aware that the Golden Raspberry and The Hudson Hawk were history. With the exceptional performances in Scent of a Woman and A Few Good Men, Lancaster not only emerged from his slump but stood at the peak of popularity with unprecedented strength, and no one could overlook this fact.
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