Critic Reviews



Based on 17 critic reviews provided by
The story, serviceable though it is, still shatters like eggshells under even the lightest scrutiny, and the dialogue is often stale beyond belief.
A lot of Murder at 1600 is well -done. Characters are introduced vividly,; there's a sense of realism in the White House scenes, and some of the dialogue by Wayne Beach and David Hodgin hits a nice ironic note. But then the movie kicks into auto - pilot. The last third of the film is a ready-made action movie plug-in.
Though it might charitably be described as "a load of old cods", there is a certain entertainment value to Murder At 1600.
Film Threat
Director Dwight Little does a solid job to keep things credible and moving, while the script makes an earnest effort to hide the true villain until the climax.
Starring Wesley Snipes as the suave Regis, Murder at 1600 is the modern equivalent of the routine B-picture, diverting in a small potatoes kind of way, though its budget and stars are big league.
Christian Science Monitor
Wesley Snipes is terrific as the hero.
There's hardly a single aspect of this motion picture that seems more than superficially credible, and if the United States government is really run in the Keystone Cops manner depicted in Wayne Beach and David Hodgin's script, then this country is in a great deal more trouble than anyone suspects.
Murder at 1600 has velocity and excitement, and that takes it a long way. It stars Wesley Snipes, which takes it a bit farther. And it's also lightweight, cliched and borderline ridiculous, which takes it back a few pegs.
By the time you get to the end of the movie and our heroes and Regis' cop buddy Dennis Miller must sprint through a series of tunnels beneath the White House racing against evil to save the presidency, if your credulity hasn't been tested you'll probably find your heart racing pleasantly.
L.A. Weekly
The convoluted plot unfolds mechanically and with little atmosphere as if sex and death in the Oval Office would provide enough gravity on its own. That it doesn't is a sign of mediocre filmmaking as well as a measure of just how cynical the times have become.

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