In a rueful irony, his death scene, in which he is hygienically dispatched with the help of piped-in light classical music and movies of rich fields flashed before him on a towering screen, is the best in the film". New York Times critic A. H. Weiler wrote, "Soylent Green projects essentially simple, muscular melodrama a good deal more effectively than it does the potential of man's seemingly witless destruction of the Earth's resources"; Weiler concludes "Richard Fleischer's direction stresses action, not nuances of meaning or characterization. Mr. Robinson is pitiably natural as the realistic, sensitive oldster facing the futility of living in dying surroundings. But Mr. Heston is simply a rough cop chasing standard bad guys. Their 21st-century New York occasionally is frightening but it is rarely convincingly real". Roger Ebert gave the film three stars out of four, calling it "a good, solid science-fiction movie, and a little more". Gene Siskel gave the film one-and-a-half stars out of four and called it "a silly detective yarn, full of juvenile Hollywood images. Wait 'til you see the giant snow shovel scoop the police use to round up rowdies. You may never stop laughing". Arthur D. Murphy of Variety wrote, "The somewhat plausible and proximate horrors in the story of 'Soylent Green' carry the Russell Thacher-Walter Seltzer production over its awkward spots to the status of a good futuristic exploitation film". Charles Champlin of the Los Angeles Times called it "a clever, rough, modestly budgeted but imaginative work". Penelope Gilliatt of The New Yorker was negative, writing, "This pompously prophetic thing of a film hasn't a brain in its beanbag. Where is democracy? Where is the popular vote? Where is women's lib? Where are the uprising poor, who would have suspected what was happening in a moment?" On Rotten Tomatoes, the film has an approval rating of 69% rating, based on 39 reviews, with an average rating of 6.10/10. The site's consensus states: "While admittedly melodramatic and uneven in spots, Soylent Green ultimately succeeds with its dark, plausible vision of a dystopian future." A German film encyclopedia notes "If you want, you can see a thrilling crime thriller in this film. By means of brutally resonant scenes, however, the director makes clear a far deeper truth [...] Soylent Green must thus be understood as a metaphor. It is the radical image of the self-consuming madness of capitalist mode of production. The