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This true origin story of a literal social-justice warrior is earnest, passionate… and exhausting. We need to keep telling these stories, yet each is but another tiny drop of water in a rough ocean.
A very welcome feminist interpretation of Alcott’s beloved novel, layered in sly, winking awareness of Hollywood clichés and the cultural pressures on women. Alive and electric, an absolute treasure.
A terrific portrait of the legendary critic, as objective as she was proudly subjective. Pulls no punches on her complicated life and work but rightly hails how she revolutionized thinking about film.
Cluelessly simplistic rendering of a 1990s media injustice ignores all the context in which it happened and demonizes the one journalist who acted professionally. Fails even as a conservative screed.
This wonder of a film wrecked me. In the best possible way. It directly confronts cynicism and misanthropy, and asks us to let them go if we can. I really needed its message. The whole world does now.
A winning (if overearnest) depiction of manly friendship, with some pretty thrilling (if only technically so) racing stuff. But it doesn’t see its potential to be actually culturally significant.
Tubman’s heroics are excellent movie-movie fodder. This “origin story” embraces her towering legend and her profound symbolic power, finally sliding her into the epic American pop-culture narrative.
An electrifying style lights up this geek adventure of the intersections between science, culture, and capitalism in the 19th-century battle to power our world. Cumberbatch and Shannon are brilliant.
Not fit to lick the boots of Martin Scorsese or Christopher Nolan, though the height of its ambition appears to be its desperation to do so. A movie as pathetically ineffectual as its protagonist.
Not a spy thriller but a story of emotional and intellectual suspense wrangling with matters of patriotism and of conscience, and of just how far journalism’s watchdog role can and should take it.
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