The film ends with the obligatory public funeral, grateful proles lining the streets while type crawls up the screen telling how much Guerin's anti-drug crusade accomplished. These are standard prompts for us to get a little weepy at the heroism of this brave martyr, but actually I think Blanchett and Schumacher have found the right note for their story." Mick LaSalle of the "San Francisco Chronicle" observed, "The film's success hinges on its avoidance of cliché – including ... the lovable anti-heroine – and what emerges is an arresting portrait of a fascinating and somewhat mysterious personality. Congratulations to director Joel Schumacher and screenwriter Carol Doyle for not including the typical Hollywood scene, which usually comes right before the climax, in which the protagonist sums up why she's willing to sacrifice all ... Aside from one lapse into sentimentality ... Joel Schumacher has crafted a smart, brisk thriller. More than that, he's given us a compelling character study and a celebration of a kind of modern woman who just did not exist a few generations ago: competent, professional, living on a cell phone, working into the night." Peter Travers of "Rolling Stone" rated the film two out of four stars and commented, "Cate Blanchett is the spark that keeps this well-meaning but by-the-numbers biopic going." Derek Elley of "Variety" stated, "It's slickly packaged, looks good in widescreen and toplines Cate Blanchett, but producer Jerry Bruckheimer and helmer Joel Schumacher ... seem boxed in by the very recent story and by the challenge of making a driven, rather foolhardy newspaperwoman into a sympathetic figure. So they have taken an accessible, generic approach to the material, treating it as a star vehicle, with Blanchett, who's in almost every scene, driving the [picture] (though in one of her most actorly and emotionally least convincing [performances])." Peter Keough of the "Boston Phoenix" wrote that the film "is based on falsehoods" and added, "But this is a Jerry Bruckheimer movie directed by Joel Schumacher, and shameless exploitation and cheap sentiment take precedence over difficult truths. Instead of a genuine tale of courage, folly, and corruption, this is a crude cartoon of good versus evil that includes Blanchett's worst performance and a conclusion that is one of the more repulsive pieces of emotional pornography since Bruckheimer's "Pearl Harbor".