The Critic: A Washed-Down Documentary of the Real Life of “The Fellas”
The Critic plays out like a watered-down documentary of “the fellas”—two famous movie reviewers who have long shaped the industry with their sharp wit and ruthless honesty. While the film presents a dramatized version of criticism journalism, it undeniably echoes the cutthroat world these two critics inhabit, where a single review can make or break careers, and where the power of the pen is often wielded like a weapon.
The movie paints a theatrical but somewhat softened portrait of the struggle for relevance, much like what “the fellas” have undoubtedly experienced throughout their careers. The story follows Jimmy Erskine (played masterfully by Ian McKellen), a once-dominant critic facing the reality of being pushed aside in favor of modernized, tamer journalism—mirroring the way veteran critics sometimes have to fight to keep their influence in an era of shifting tastes and online voices.
Positives
The film’s greatest strength is Ian McKellen, who carries the entire story with his ability to disguise Erskine’s true intentions so convincingly. His performance is layered, shifting between charming, manipulative, and desperate with ease. Watching him navigate this world of influence and deception is the highlight of the film.
The atmosphere also deserves credit. The film captures 1930s London beautifully, from the smoky theater halls to the bustling streets filled with vintage cars. The setting feels lived-in, and the period details enhance the experience.
The concept itself is a great one—a critic fighting for his job, showcasing the realistic steps of escalation someone might take when losing the position that defines their life. This idea, while dramatized, resonates deeply, especially with those who understand the weight of a career in media.
Negatives
Despite these strengths, the film has its missteps. Alfred Enoch’s performance as Tom Turner, Erskine’s secretary and lover, lacks the emotional depth needed to make his character’s moral awakening believable. His reactions are too muted for someone suddenly gaining a conscience, making his arc feel underdeveloped.
Additionally, the subplot between actress Nina Land and the editor-in-chief, Viscount Brooke, feels unnecessary. While meant to add another layer of intrigue, it ultimately distracts from the main story rather than enhancing it.
But the biggest missed opportunity? The ending. Instead of delivering a satisfyingly cynical conclusion where Erskine and Land get away with their scheme—a fitting outcome given the morally murky world the film presents—the story opts for justice. Considering how well things had worked out for these characters up to that point, a more ambiguous or victorious ending would have been both satisfying and thematically consistent. After all, in real life, people like Erskine often slip through the cracks.
Conclusion
The Critic is an engaging, well-acted period drama with a fascinating premise and a standout performance from McKellen. However, uneven supporting performances and a safer-than-necessary conclusion hold it back from being truly great. Had the filmmakers leaned into the unfiltered wit and ruthless edge that makes “the fellas” so beloved, the movie could have transcended its period drama roots and become a sharper, more biting commentary on the industry. Instead, it remains a polished but restrained take on the life these two reviewers know all too well.
7/10