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By trying to be about so little, telling a simple fragile romantic story, Dogfight is about so much -- war and peace, love and romance, sex roles and cultural myths. What it understands is that to be really anti-war, rather than glitzy moralizing, a film should just be full of life, its characters so richly nuanced and detailed that they resonate with energy.

Dogfight isn't a love story so much as a story about how a young woman helps a confused teenage boy to discover his own better nature. The fact that his discoveries take place on the night before he ships out to fight the war in Vietnam only makes the story more poignant.

At times, there's no escaping the schematic nature of what's unfolding - such as the buddies' horseplay, and an ending that seems tacked on. But Savoca makes it all happen with a charm that overcomes the lapses in the script. [04 Oct 1991, p.44]

Fans of the Say Anything/ Running On Empty school of drama could do a lot worse that give this one a go.

Savoca skilfully negotiates the nastiness of the opening scenes: four Marines organise a party, the object of which is to see who can bring along the most unattractive date. She is almost as successful with the potentially maudlin central section, after Phoenix has picked up Taylor, and remorse segues into affection and tenderness.

Not unlike her first film, True Love, director Nancy Savoca's big-studio follow-up is more an actor's piece than a fully formed film, its subject yet another rambling contemplation of the rocky relations between the sexes. But it's also no less enjoyable and no less deeply felt.

It’s not that Dogfight doesn’t have any story. In fact it has two, but neither one has anything like the weight of a feature, and the connection between the two is too tenuous for even a director as capable as Nancy Savoca (making her first film since the much-lauded True Love) to bridge.

Dogfight doesn’t sum up an era; it merely romanticizes it. What could have been an incisive movie about alienation deteriorates into a conventional romance.

For all the pitfalls it scrupulously avoids, Dogfight isn’t finally very interesting. It’s not just the movie’s plot that’s diminutive. The emotions seem small too.

The film wants to be honest (and in its cruelties, it is), but the operative sensibility is that of a sitcom world. The characters aren't necessarily idealized, but they are flat and uninteresting. The material is lugubrious. The only seemingly spontaneous moment comes at the very end, which is too late.