San Francisco Chronicle by G. Allen Johnson

Perhaps no director has so thoroughly explored the American concept of police work, prosecution and legal justice, and Find Me Guilty is a film that brings the 81-year-old filmmaker thematically full circle, back to his starting point, 1957's "12 Angry Men."

L.A. Weekly by Scott Foundas

Shot quickly and cheaply in high-definition video and almost entirely on one set, the movie has almost zero visual energy, but it teems with snappy dialogue and the same carnival anarchy Lumet brought to "Dog Day Afternoon" and "Network."

The New York Times by Stephen Holden

Find Me Guilty, Mr. Lumet's first feature film in seven years, catches him near the top of his game.

ReelViews by James Berardinelli

Despite being saddled with bad prosthetics and a ridiculous wig, Diesel displays more acting ability than in the testosterone-soaked genre where he has carved out a niche.

Portland Oregonian by M. E. Russell

Lumet blatantly, simplistically stacks the decks in favor of the defendants, pitting them against mean, stupid cops and a cartoonishly nasty prosecutor.

Chicago Tribune by Michael Phillips

Lumet has retained a lifetime of technique and sharp instincts regarding how to make a courtroom full of people worth watching.

New York Post by Lou Lumenick

Find Me Guilty belongs to the odd couple of Dinklage and Diesel, whose volatile performance finally proves he is much more than an action star.

Chicago Sun-Times by Roger Ebert

This movie by its nature is not thrilling, but it is very genuinely interesting, and that is rare.

Dallas Observer by Luke Y. Thompson

The characters may be based on real people, with much of the dialogue culled directly from court transcripts, but Find Me Guilty plays the whole thing as comedy, and as everyone knows, putting a self-serious egomaniacal movie star in a bad hairpiece is comedy gold.

Village Voice by Ben Kenigsberg

Find Me Guilty is overlong and often sitcomy, but it's also pleasantly old-school, with a tone, soundtrack, and even a title-card font that suggest a mellow but not senile Woody Allen.

Variety by Eddie Cockrell

Part mob-trial thriller, part "dese 'n' dose" extended standup routine, character-rich pic plays like vintage Lumet, mining the grim comedy from life-and-death legal wranglings in the manner of "Dog Day Afternoon," "Prince of the City" and "The Verdict."

The Hollywood Reporter by Kirk Honeycutt

All the acting is solid including a knock-'em-dead single scene by Annabella Sciorra as Jackie's ex-wife.

Christian Science Monitor by Peter Rainer

Most Mafia movies are unduly sympathetic, but this one takes the cake. Peter Dinklage is excellent as the mob's chief lawyer.

Entertainment Weekly by Lisa Schwarzbaum

A sharp-looking Mob drama with a gooey moral center.

The A.V. Club by Nathan Rabin

A new courtroom comedy that finds Diesel chewing scenery in a role originally intended, and seemingly custom-made, for Joe Pesci.

Rolling Stone by Peter Travers

Sadly, Lumet's skill at bringing out the juice in actors isn't enough to save the film from overkill.