million in North America and $43.2 million in the rest of the world for a worldwide total of $81.6 million. Critical response On Rotten Tomatoes the film holds an approval rating of 95% based on 56 reviews, with an average rating of 8/10. The site's critics consensus reads, "Enlivened by the antagonistic chemistry between Robert De Niro and Charles Grodin, Midnight Run is an uncommonly entertaining odd couple comedy." Metacritic assigned the film a weighted average score of 78 out of 100, based on 16 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale. Film critic Roger Ebert gave the film 3.5 out of 4 stars and wrote, "What Midnight Run does with these two characters is astonishing, because it's accomplished within the structure of a comic thriller ... It's rare for a thriller to end with a scene of genuinely moving intimacy, but this one does, and it earns it." In his review for The Globe and Mail, Jay Scott praised the performances: "De Niro has the time of his acting life lightening up and sending up all those raging bulls that won him all those Oscars ... Charles Grodin, master of the double-take and maestro of the slow burn, the best light character comic since Jack Benny stopped playing himself". Vincent Canby, in his review for The New York Times, wrote, "Mr. De Niro and Mr. Grodin are lunatic delights, which is somewhat more than can be said for the movie, whose mechanics keep getting in the way of the performances". In his review for The Washington Post, Hal Hinson says of the director that, "carrying the dead weight of George Gallo's script, Brest isn't up to the strenuous task of transforming his uninspired genre material in something deeper, and so the attempts to mix pathos with comedy strike us merely as wild and disorienting vacillations in tone". David Ansen, in his review for Newsweek, wrote, "The outline of George Gallo's script—odd-couple antagonists become buddies under perilous circumstances—was stale five years ago, and the outcome offers no surprises. Too bad: a lot of good work has been wasted on an unworthy cause". Legacy Thirty years on, critics have warmed to the movie. Alan Sepinwall calls it the "Casablanca of Buddy Comedies" in Rolling Stone: Yet all that ultimately matters---and makes the movie a classic