Metacritic reviews

Thanks to the three strong performances at its heart — especially that of a wisecracking Samuel L. Jackson (who’s also one of the producers) — The Banker often is as entertaining as it is enlightening. It’s “Hidden Figures” with redlining instead of rocket fuel.

This is a film brimming with essential truth about the events at hand, and it delivers an impactful but also entertainingly resonant message. It’s also a crackling good, emotionally satisfying, old-fashioned thriller, with readily identifiable heroes and hiss-worthy villains.

Despite the recognizably daunting challenges in telling this long-arc story in an entirely coherent way, The Banker spins a surprising and engaging yarn pinned to central elements that made it hard to tell. Its lively, positive spirit helps it over any number of speed bumps, the social backdrops play to its advantage and the top-line cast members pull their weight and then some.

An accessible, efficiently made but not necessarily invigorating look at finance, reality, and racial injustice in the U.S.

A handsome-looking if occasionally dull affair.

Mackie does a decent job of articulating his anger, and the filmmakers clearly care about the issues, but The Banker doesn’t take the narrative risks necessary to tell its story powerfully. Competence is all we get instead, and competence isn’t quite enough.

Just as it reduces Garrett’s character to a few tenacious traits, the film, in presenting his inspiring story, loses perspective on the broader picture.

You may wish that you were reading about these events in The New Yorker, because the movie is so choked with neutral detail that it’s a little bloodless. It lacks fire.

For a film about the struggles of a black man in America, The Banker spends an awful lot of time on a false white front.

The Banker is a sadly facile and largely surface level rendering of a profoundly complex problem that deserves more attention.