• Release year: 2024
• Director: Anand Tucker.
• Producers: David Gilbery, Bill Kenwright and Jolyon Symonds.
• Screenplay by: Patrick Marber.
• Cinematography by: David Higgs.
• Music by: Craig Armstrong.

Shotgun Commentary: fascinating account of the dog-eat-dog world we live in.

Review

The Critic is a dramatic thriller that has surprisingly little to do with theatre. Much like Challengers (2024) did, this film uses its main theme to talk about something else entirely. Power structure and dynamics, social strata, discrimination, survival instincts and lack of empathy are the bases of this mystery narrative where one man is set on fighting for his lifestyle and position come what may.

Good villain = Good story

In the cynic times we live in, audiences are more appreciative of a good villain story. Gone are the days of the perfect heroes with unimpeachable characters. The Critic is very much aware of this trend, which is why it gives the floor to Jimmy Erskine (Ian McKellen), a man that is far from the wicked figures of traditional cinema where evil was a given rather than a circumstantial characteristic.

Jimmy is a man both ahead and behind his time. On the one hand, his homosexuality and lifestyle situate him as a modern man who is not afraid of being who he is, regardless of what his outdated society and law system tell him. On the other hand, he is an old man who has a hard time letting traditions go and welcoming novelty.

This contradictory nature makes him a complex, fascinating character that can only be played by McKellen. The artist has found a comfortable archetype in grumpy grandpa roles, and considering his talent and effectiveness, it looks like the optimal choice. How Erskine is still alive considering the amount of smoking and drinking he does is a miracle of the size of Keith Richards himself, but that is the only feature that is hard to believe of this character.

Erskine’s charm emanates mostly from his intelligence, despite being a deeply flawed man, he is a survivor and, to a point, his actions are completely justifiable. The way he moulds the world around him to maintain the life he feels he deserves is magnificent, and his puppeteering abilities are simply awe-inspiring. Does this help with the reputations of critics of any discipline, including yours truly? No, not really, but you still get to witness a wonderful character.

Survival of the fittest

A personality like this would have no beauty had it not for the context where he is placed. Despite all the privilege that being a rich, white man with tons of experience in his field provides him, he is still part of a discriminated group: homosexuals. In fact, he is more than discriminated, he is illegal in the eyes of the law. This puts him in a dangerous position, regardless of his gender and race. In a society where good jobs that pay well are a privilege rather than a right, resorting to stepping over others is not above his principles.

Funnily enough, from the three characters pertaining to discriminated groups, it is the woman, Nina Land (Gemma Arterton), that gets the worst of it. Erskine abuses his power in the industry of theatre to manipulate her, while his secretary Tom (Alfred Enoch) does nothing to stop him.

Despite Erskine being gay and Tom being both black and gay, they don’t have any sympathy for Nina and her precarious situation as a woman in the showbiz. Tom seems to show some remorse and judgement. Still, he doesn’t do anything until it’s too late, marking him as the typical passive spectator to bullying, who convinces himself of his innocence because he didn’t actively participate in the torment.

Guess who gets the short end of the stick?

In addition to this savage dynamics, Nina also has to deal with her personal life, which is proven to be just as hard as the professional because, you guessed it! She’s a woman. The double standards shown by her “devoted” lover, a married man that gets outraged by the knowledge that his mistress has been with another man whilst they weren’t even together. As a female spectator of this movie, you have to laugh. Either you laugh or you start throwing things at the screen.

The constant manipulation and mental abuse that Land is constantly subjected to for the only reason of being a woman is as heartbreaking as it is beautiful. Arterton delivers a gorgeous performance in a role that does justice to the avalanche of unfairness women have always had to deal with due to their gender.

Visual artistry

Getting into the more aesthetical aspects, the cinematography is delightful. The settings and costumes are jaw-dropping, with rich colours and stunning shapes. The beauty of the architecture and the lavish lifestyle enhanced by the camera in every shot. The peak of this visual storytelling is undoubtedly Erskine’s anxiety attack. This is a moment where sound composition, acting, cinematography, costume and makeup converge to deliver the climax of the film. A moment so powerful and so flawlessly communicated that leaves a mark until long after you’re out of the cinema.

All in all, The Critic is a great thriller that touches upon relevant societal topics with cynicism and brutal honesty. The cast is very talented and the storytelling has no apparent flaws. A good time for anyone in the mood for some crime drama.

Thanks to Lionsgate for big screen access! The Critic will be released the 13th of September in UK and US.

Advice to take from this movie:

• Don’t make any decisions while drunk.
• If you’re going to betray someone, don’t give them a heads-up beforehand, duh!
• If you can’t live with certain decisions, maybe don’t make those in the first place?

What’s your take? Have you watched The Critic? What’s your biggest takeaway from it?

Don’t hesitate to let me know your thoughts in the comments section below, or leave a message in my contact page! For more reviews and cinema-related articles, check out the rest of my blog! 😀