O Crítico

Anyone who thinks this tale exaggerated was not alive when critics for the papers really did have this much power, which survived into the 1970s to some degree. Ian McKellen delivers a powerful portrayal of an aged, egotistical, and vain theatre critic of the 1930s.

Walter Kerr in New York in the 1950s and 1960s had such power but was, I am pleased to say, not anything like the corrupt McKellen character. The story is based upon the novel CURTAIN CALL by the interesting novelist Anthony Quinn (no relation to the actor of that name), who enjoys writing stories set in the early to mid-twentieth century in England. I have read a couple and have more sitting around waiting for my attention. McKellen's character is gay, a condition not unknown to McKellen himself I believe. An adoring younger man lives with him and looks after him, played with quiet devotion by an excellent young actor named Alfred Enoch who underplays the role so well that it makes the entire story more plausible. McKellen's character walks a dangerous tightrope in numerous ways and seems perversely to enjoy the thrill of taking such risks. And he progressively pushes out the boundaries of his audacity and pomposity to see just how far he can go, which is pretty far. But then the actress Nina Land come into the story, played by Gemma Arterton. With breath-taking audacity, McKellen believes he can make use of her in a complex blackmail plot to regain his position as critic, having just been fired for being caught with his trousers down with a chap, if you see what I mean. Remember this was all illegal then. He engages in this plot because his boss, the titled owner of a major newspaper, is romantically obsessed with the girl, despite being married to Romola Garai. (I didn't say anything!) The gloomy and obsessed owner of the paper is magnificently played by Mark Strong. Indeed, all the acting in this film is finely attuned to some invisible tuning-fork to get just the right pitch. I guess we can congratulate the director, Anand Tucker, for making all that happen, and delivering to us such a moody and atmospheric study of moral corruption in London's theatreland.

Unlikely the movie's titular character, Jimmy Erskine, played deliciously by Ian McKellen, I am not a professional critic/judge/reviewer.

I am, however, someone who enjoys a good story. Alas, "The Critic" baffles me. On the one hand, it had the potential of good mystery, but it didn't choose to go that way. It also had the potential to be a good revenge caper. Sadly, it also didn't go that way.

Instead, we get in a quick run-time of 1 hour 40 minutes in which we don't really get good characterization, a good plot, or even a good crime story. Instead, we get a hurried and inadequate portrayal of a desperate man.

And why is he desperate? That's not really the right question. If you do decide to watch this movie, you'll know what I mean.

Ah, a movie about a theater critic from film producers, not hard to guess where that will lead us. The script for the most part is well conceived and it will hold your attention throughout. Sadly some of the plot devices are 1.) unnecessary and 2.) just plain old cheesy. And that is most unfortunate. The main character is venal, craven, self interested and most certainly immoral (and I am not referring to any sexual orientation) which would easily describe one half of the people in the entertainment business. Ian McKellen was just devastating in his 'deliverance' of the role of the critic and the supporting cast did him justice . My criticism is the unnecessary elements in the plot and how they don't really fit , IE you could have just as easily told the story without them. I recommend the movie without reservation ,(it isn't action or fantasy) McKellen's performance alone along with the witty dialogue from his character make the movie highly entertaining and I promise you will not be bored or impatient watching this movie.

The director, fully aware of how bad the movie is, had 350 people from the Philippines give it a 10/10 rating (check the voting statistics if you like).

The Critic keeps a respectful distance from its material, favoring neat dramatic ironies over shocking twists or raw, anguished revelations. Perhaps the harshest criticism one could level against it-something Jimmy, the self-proclaimed judge of creative genius, might find particularly insulting-is that the film is far too polite and cautious for a portrayal of such a ruthless character.

Movie is thankfully short, yet it still feels drawn out. Its appeal will likely be limited to older audiences drawn by McKellen's name and the subject matter, offering them mildly engaging streaming content.

It's a period theater drama set in London, England, in 1934. Jimmy Erskine (Ian McKellen) is the elderly, acerbic drama critic for "The Chronicle," a national tabloid run by Viscount David Brooke (Mark Strong), the son of the recently deceased owner. Erskine has been writing devastating reviews about 30-something Nina Land's (Gemma Arterton) performances for 10 years. Nina has been the mistress of Ben Wyley (Ben Barnes), an artist doing a painting of 12 of the "Chronicles" stalwarts. Other crucial performances come from Erskine's secretary, Tom (Alfred Enoch), and Ben's wife, Cora (Romola Garai).

Brooke fires Erskine after learning of Erskine's homosexuality. Erskine seeks revenge by manipulating Nina with unforeseen and tragic consequences because Erskine doesn't know about critical relationships. What becomes of Erskine after it all?

"The Critic" is nicely done. Ian McKellen is blustery, unethical, manipulative, and a joy to listen to. Mark Strong is a plummy, arrogant newspaper publisher. Gemma Arterton is trying to follow her dream. The secondary characters behave appropriately. It all depends on McKellen, and I'm glad the film ends as it does. "The Critic" is a little slow at points, which drops it a point.