Critic Reviews
44
Metascore
Mixed or Average
positive
2(18%)
mixed
8(73%)
negative
1(9%)
Showing 11 Critic Reviews
70
There is genuine sweetness in this nougat-hearted movie -- in the friendliness of Ashby's direction, the caressed clarity of Haskell Wexler's cinematography and, most of all, the acting of Jon Voight. [11 Oct 1982, p.104]
63
Lookin’ to Get Out, however, though pieced together with Ashby’s trademark character sympathy and technical aplomb, is one toke over the line: Unkempt and unconvincingly funny, the film is infused with the thin, despondent languor of a mourning man’s second-hand marijuana smoke.
50
I could not for a moment believe that this movie was intended as a plausible portrait of how casinos work, how gamblers work, and especially of how casino managers work. To enjoy this movie, you need more than a willing suspension of disbelief. You need a faith in disbelief.
50
Lookin' to Get Out is not as bad as Mr. Ashby's Second Hand Hearts though, like that film, it is a showcase in which excellent actors are allowed to make fools of themselves.
50
Much of the dialog seems improvised, with erratic results. Director Hal Ashby's cut of the film was chopped by Paramount and by producer Schaffel and writers Voight and Schwartz, and it came up weaker for it. In spite of having problems, however, the film is not a complete turkey.
50
Hal Ashby's Lookin' to Get Out is an ill-conceived vehicle for actor (and co-writer) Jon Voight to showcase his character comedy talents in a loose, semi-improvised environment.
50
More and more it seems that when all else fails, the director says, "Then let's make it zany." [09 Oct 1982, p.C11]
50
When the picture is good, it inspires hope and affection; when it's bad, it calls forth sighs and whispers. Lookin' To Get Out is a failure, but it's the kind of failure you feel sorry for. [11 Oct 1982]
42
Voight and Young play the kind of old friends who know each other’s many faults well enough for their bond to be characterized more by richly merited resentment than affection. After spending two plodding hours with these jerks, audiences will know that feeling all too well.
40
A sloppy mess that stumbles toward oblivion like a drunk on a losing streak
