Erin Brockovich: Critic Reviews

With this script, Grant becomes Hollywood's foremost writer of strong, smart women's roles, and Lachmann works the same wonders with the atomizing light of Southern California that he did in Soderbergh's The Limey.

Roberts does what the best movie stars do. She makes you believe in Erin Brockovich as a living, breathing human being even as you're also constantly aware that you're watching Julia Roberts on screen.

The best "message movie" in recent memory, it is also, so far, the best film of the new millennium.

Julia Roberts winner. R mostly for language.

Julia Roberts has never been more fragile or stunning. And by oncerning itself with truthful consequences of its characters' self-sacrifices, the film succeeds as a drama as much about the passion of personal investment as the pursuit of justice.

In this Oscar-winning fairytale, combining traits of Norma Rae and Karen Silkwood, Julia Roberts is at her most winning and sexiest as the lone-figher against the system; that it's inspired by an actual case makes it more fun to watch.

An example of Hollywood entertainment done with finesse and compassion, the way it always should be but so often isn't.

It would have seemed impossible to me that a writer could take such a worn-out premise and make it enthralling, but this guy has done it.

It's hard to imagine another actress pulling this off without appearing sleazy.

With director Steven Soderbergh at the helm and Julia Roberts in the title role, the movie breezes by enjoyably without so much as a grandstanding speech or an awkward moment.

Indie director and movie star team up for thrilling, smart, snappy entertainment with a message.

...sort of like A Civil Action Lite

Few critics have been as skeptical of Julia Roberts' talents as I, but "Erin Brockovich" has won me over.

O incrivel e que Julia Roberts nos faz esquecer de sua aura de 'estrela de cinema' e acreditar que ela seja, de fato, alguem com serias dificuldades financeiras.

Erin is far and away her own worst enemy — and a good thing too, because she needed at least one.

Steven Soderbergh realizes that he's working with a potentially been-there-done-that situation, and he makes all the right choices.

This movie has the eerie tang of so many other wretched Roberts vehicles of the past...but somehow, it manages to produce a moderately good film

I liked this movie on its own merit, not just the merit of the true story it was portraying.

It is not a movie, but a collection of scenes that serve one purpose only: to justify Julia Roberts as a movie star.

[Soderbergh's] willingness to let Erin's character move through all her many phases--to let her be both a bitch and a saint--that gives the film its edge

Julia's a powerhouse in this surprisingly strong tale.

Involving and entertaining.

A triumph for [Roberts] and her director, Steven Soderbergh, and a thoroughly satisfying time at the movies for the rest of us.

Ultimately the story seems rather slight.

Erin Brockovich has an earthy, bare bones authenticity to it, thanks in large part to Soderbergh's simple shooting and editing style that is pseudo-documentarian.