63
Philadelphia Inquirer by Carrie Rickey
Supremacy has thrills, but without Potente's presence, it loses its soul.
What are people saying?
What are critics saying?
50
Christian Science Monitor by David Sterritt
This time it's just chasing, fistfighting, and shooting. A disappointment from the director of "Bloody Sunday."
88
Charlotte Observer by Lawrence Toppman
Trumping its predecessor with a tauter plot, a lower body count and just as many edge-of-the-seat jolts.
60
Village Voice by Michael Atkinson
The loss of the first film's hurtling who-am-I? story engine is keenly felt, and too much time is spent observing the characters get on and off planes, trains, and automobiles.
60
The Hollywood Reporter by Michael Rechtshaffen
Like its various post-Cold War European locations, the film remains chilly and distant. Every time you feel like you're finally grabbing hold of something involving, the picture once again spins frustratingly out of reach.
88
Chicago Tribune by Michael Wilmington
Close to perfect example of an expertly designed and executed thriller.
100
Entertainment Weekly by Owen Gleiberman
A conventionally heightened series of escapes and clashes and hide-and-seek gambits, yet the way the film has been made, nothing that happens seems inevitable -- which is to say, anything seems possible. There's a word for that sensation. It's called excitement.
75
Miami Herald by Rene Rodriguez
Achieves an assaultive intensity that adds a level of visceral excitement to car chases, mano-a-mano showdowns -- even simple conversations. It's a style that takes some getting used to -- the images flit by at near-subliminal speeds -- but proves tremendously effective.
90
The New York Times by Stephen Holden
This is high-speed action realism carried off with the dexterity of a magician pulling a hundred rabbits out of a hat in one graceful gesture. The crowning flourish is an extended car chase through the streets and tunnels of Moscow that ranks as one of the three or four most exciting demolition derbies ever filmed.
70
The action is confusing at first and the hyperventilated editing style at times goes beyond the pale, so pic ultimately emerges as an erratic but not unworthy sequel to its gritty, genre-invigorating predecessor.