Richard Crouse

The legendary “Playbill” chose my review of “The Critic” among their top picks for the week.

Have a look HERE!

SYNOPSIS: “The Critic,” a new, melodramatic thriller starring Sir Ian McKellen, Gemma Arterton and Mark Strong, and now playing in theatres, sees a powerful London theater critic lure a struggling actress into a blackmail scheme.

CAST: Ian McKellen, Gemma Arterton, Mark Strong, Lesley Manville, Romola Garai, Ben Barnes, Alfred Enoch. Directed by Anand Tucker.

REVIEW: A tale of blackmail and revenge, set against the (somewhat) polite society of England, circa 1934, “The Critic” is a deceptively dark and grimy drama.

Handsomely mounted, with sumptuous period details, “The Critic” details mostly despicable people who hide their nefarious motivations behind an upper-class veneer.

Topflight performances from McKellen as a powerful theatre critic who’ll do anything to maintain his status, Arterton as a morally compromised actress and Stone as the nepobaby owner of a large newspaper, smooth over some of the rough patches in the movie’s storytelling.

Early on, actress Nina Land (Arterton) confronts the critic, Jimmy Erskine (McKellen), only to have her worst fears about her talent—or lack thereof—confirmed by the sharp-tongued writer. It’s a masterclass from McKellen in controlled cruelty and tells us most everything that we need to know about the unapologetic character. He’s an extravagant wordsmith, one who uses his words not only to entertain his readers, but to also eviscerate his enemies.

It’s a marvelous scene, sleek and caustic, that sets a tone that is, unfortunately, not continued throughout, despite the good performances. McKellen and Company are let down by a script that, time after time, falls for its basest impulses. Every dark turn, and there are many of them, pushes the story deeper into melodrama at the expense of interesting exchanges like the one detailed above.

“The Critic” slides by on the work of McKellen, Arterton, Strong and Lesley Manville, but doesn’t know how to use their performances to the story’s best advantage.