David Raposa’s review published on Letterboxd:
The tears that well up in Dennis Haysbert's eyes when Lillian tells him, after he asks why she still hangs around, that she's proud of him. McCauley's car being bathed in the whitest light as it enters the tunnel, right after he tells Eady they're home free. The muzzle flash in the window of Trejo's house. The color of the sunset, & the swaying tall grass, as McCauley chases down Eady. Mann slowing down the action as McCauley starts to throw the chair at Van Zant's window. The tilted aerial shots of the city at night. & that simple devastating cut from Mann checking in with the couples having intimate discussions about their wants and needs to Natalie Portman sitting alone on the side of the road.