Entertainment Weekly by Lisa Schwarzbaum

Ah, monsieur, you can lead a Frenchman to the Big Apple, but you can't make him a New Yorker -- and that's exactly what makes The Professional so fascinating.

Washington Post by Hal Hinson

Oldman is the least inhibited actor of his generation, and as this deranged detective, he keeps absolutely nothing in reserve.

The A.V. Club by Joshua Klein

Few action films can claim such complexities without conceding the bang-bang stuff that brings in the big money.

Austin Chronicle by Marc Savlov

Besson's visuals are, as always, vibrant and decidedly European. He fills the frames with odd-angled shots and alarming riots of color that catch you off-balance.

ReelViews by James Berardinelli

With some surprisingly strong character interaction, there's a lot to like about this movie, at least for those willing to look beyond all the bloodshed.

Time by Richard Schickel

This is a Cuisinart of a movie, mixing familiar yet disparate ingredients, making something odd, possibly distasteful, undeniably arresting out of them. [5 Dec 1994, p. 93]

Chicago Sun-Times by Roger Ebert

Besson has a natural gift for plunging into drama with a charged-up visual style.

The Globe and Mail (Toronto) by Christopher Harris

Takes its viewers on a bouncing high-wire act between intense violence and sugar-sweet tenderness, with some light-hearted comedy along the way.

Variety by Lisa Nesselson

Widescreen lensing favors tight close-ups, and multiple shoot-'em-ups are edited with panache.

Chicago Reader by Jonathan Rosenbaum

The sheer oddness of the New York world constructed for this film--where cops and crooks are literally interchangeable, and Oldman and Danny Aiello are stranded in roles that pick over the leavings of earlier parts--ultimately seems at once too deranged and too mechanical.