"A very smooth, very dry and hugely enjoyable movie."
— David Stratton, At the Movies (Australia)
"Damon gives the most fascinating and fearless performance of his career."
— Brian Tallerico, Movie Retriever
"A smart, cynical movie about how we buy now -- oops, I mean, how we live now."
— Manohla Dargis, New York Times
"The Informant! is a hoot, an ever-escalating tale of corporate crime, greed and out-and-out craziness"
— Bill Goodykoontz, Arizona Republic
"Entertaining, and, yes, dark at times, The Informant! serves an interesting story about a very complex man."
— Candice Frederick, Reel Talk Online
"Damon is an agile comic performer, and Soderbergh knows how to serve him up without losing sight of the ultimate seriousness behind it all."
— Peter Rainer, Christian Science Monitor
"The Informant! has two aces going for it: Soderbergh's poking at the mazelike holes in American business and Damon's whirling dervish performance."
— Joe Neumaier, New York Daily News
"Director Stephen Soderbergh and its star Matt Damon have crafted a skittish caper movie, a pyrotechnical display of colourful lies that unravel to a giddy retro score."
— Wendy Ide, The Times (UK)
"Few directors other than Martin Scorsese and Quentin Tarantino can make films with the same geek joy -- the same love of cinematic history -- as Steven Soderbergh."
— Amy Biancolli, Houston Chronicle
"It suggests that in a world gone mad, even the good guys can be a little cracked, and that, in an age of self-indulgence, it might be hard for a whistleblower to heed his own alarms."
— Chris Vognar, Dallas Morning News
"Shooting fast and digital in just 30 days, Soderbergh invests the film with the breathless pace of a thriller and the gravity befitting a nation's soul sickness. Damon makes Whitacre recognizably human."
— Peter Travers, Rolling Stone
"In adapting reporter Kurt Eichenwald's non-fiction account of Mark E. Whitacre, the corporate corn husker turned federal snitch, Soderbergh has given this incredible story exactly the amount of insanity it deserves."
— Peter Howell, Toronto Star
"[Damon] occupies his equivocating antihero utterly, capturing the Walter Mittyish self-delusion, the desperate desire to please, and the bottomless conviction that, whatever his transgressions, he's still one of the good guys."
— Christopher Orr, The New Republic