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Based on 9 Reviews
critic reviews (9)
fan reviews ( )
  • 75
    Gene Siskel Chicago Tribune

    The film would be funnier and more provocative if it took a stronger stand on one side or the other, but Howard chooses to hedge his bets, selecting an ending that celebrates brotherhood more than the strongly hinted- at notion that American workers would do well to get off their featherbedding backs. show more

  • 50
    Roger Ebert Chicago Sun-Times

    I think the fault is in the screenplay, which tells a story that can be predicted almost from the opening frames. The people who wrote this movie did not bother, or dare, to give us truly individual Japanese characters; there is only one who is developed with any care. show more

  • 50
    Bill Cosford Miami Herald

    The movie isn't really about America and Japan at all; it's about set-ups for gags. [14 Mar 1986, p.D2] show more

  • 70

    Drawn from real life, the conflict between cultures is good for both a laugh and a sober thought along the way. show more

  • 60
    Kevin Thomas Los Angeles Times

    Gung Ho goes after that ever-so-elusive Capra-esque spirit of communal triumph over adversity, but both sides too often verge on stereotypes for this to pay off as richly as it should. show more

  • 40
    Vincent Canby The New York Times

    It's more cheerful than funny, and so insistently ungrudging about Americans and Japanese alike that its satire cuts like a wet sponge. show more

  • 40
    David Ansen Newsweek

    Howard's fifth movie is a keen disappointment. Clever moments and bittersweet touches aside, it leaves you wishing a modern-day Preston Sturges had written the script. [17 Mar 1986, p.82] show more

  • 40
    Richard Corliss Time

    Its tone swings violently from pratfall to preachment, from an indictment of featherbed laziness to an extended beer-commercial celebration of the mythical American worker. show more

  • 50
    Rita Kempley Washington Post

    Howard entices us into overlooking the film's faults with some genuinely amusing scenes, particularly those featuring Japanese-American Gedde Watanabe as a beleaguered Assan executive who doesn't fit the corporate mold. [14 Mar 1986, p.27] show more

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