Director
Anand Tucker
(LEAP YEAR)

Starring
Ian McKellen, Gemma Arterton, Mark Strong and Ben Barnes

Directed by Anand Tucker and based on Anthony Quinn’s novel Curtain Call, The Critic is a moody period drama set in 1930’s London.  The film revolves around Jimmy Erskine (played by Ian McKellen), an aging and ruthless theatre critic whose sharp pen wields immense power over the fates of London’s actors and playwrights. His scathing reviews can make or break a career, and Erskine thrives on this influence. However, as the landscape of journalism begins to change, so does Erskine’s fortune. With younger, hungrier critics on his tail, and dark secrets from his past beginning to surface, Erskine finds himself entangled in a dangerous web of blackmail, rivalry, and deceit. Gemma Arterton plays Nina Land, an aspiring actress who becomes crucial in Erskine’s downfall and rise. Their relationship is nuanced, as she seeks both his favour and his undoing. The film unearths the complex and sometimes sinister power dynamics behind the curtain.

The film should be defined by powerhouse performances, given the rich tapestry of talent on hand. In addition to McKellen and Arterton, the film features the likes of Mark Strong, Ben Barnes, Romola Garai and Lesley Manville. The latter of which shares approximately 4 minutes of screentime. The ingredients are all there for a knockout feature, sadly however, these talents are largely wasted through poor writing and even worse direction. It’s ironic to note that Anthony Quinn was a film critic prior to becoming a novelist, so one can only imagine how disappointed he must be to see the result of Patrick Marber’s butchered screenplay.    

The performances themselves are strong, particularly from Ian McKellen, who portrays Jimmy Erskine with an extreme level of venomous wit and depth. He plays the critic as a larger-than-life figure, both feared and admired, capturing the desperation of a man whose grip on power is slipping. McKellen’s sharp delivery and commanding presence make every scene he’s in compelling. His character however, is so despicably unlikeable that it’s hard to fully enjoy his masterclass. Another firm criticism of the film is the casting of Mark Strong as a newspaper magnate that we’re meant to believe is so undesirable that Gemma Arterton must be blackmailed into seducing him. Now I’m married to a woman and even I would jump the fence for Mark Strong with very little encouragement required. He’s also meant to pass for Romola Garai’s father despite being only 9 years her senior. Maybe Timothy Spall would have been a better casting choice here.

The Critic at its core, wants to be an examination of power, who holds it, how it is used, and what happens when it is threatened. It tries to explore the fragility of reputation, the cost of ambition, and the brutal nature of the entertainment world. It attempts to offer a biting commentary on criticism itself, raising questions about the ethical boundaries of critics who wield their influence with little accountability. However, while the film excels in its performances and atmosphere, the pacing is excruciatingly miscalculated. Never before has a 101-minute film felt SO long.  Certain subplots meander, and the film often delves too deeply into melodrama. There are cutaway scenes that make the narrative disjointed and the overuse of facial close-ups become tedious over the course of the film.

Don’t be misled by online synopsis of this film as I was either. I went in expecting an Agatha Christie-esque murder-mystery, whereas the only mystery for the majority of the film was ‘when is something actually going to happen?’. The Critic really should only be seen a vessel for solid performances and nothing much else.

The Critic has advanced screenings out this long weekend, with a general release to follow on October 3^rd.