It is somewhat meta to criticize a film about a critic, particularly one who embraces vicious words and a peculiar style to maintain his readership. In The Critic, Ian McKellen plays Jimmy Erskine, a consolidated theater reviewer for The Daily Chronicle. That is, until his career in the newspaper is suddenly challenged by the new man in power, David Brooke (Mark Strong). Different from his father who originally ran the paper and hired Erskine as a critic, Brooke isn’t fond of the writer’s sharp comments, especially when they are targeted toward a young actress called Nina Land (played by Gemma Arterton). To keep his post, Erskine must use Brooke’s affection for Land to his advantage, promising the actress to only publish positive comments on her work moving forward if she maintains an affair with Brooke. This web of lies and tug of war for power becomes messy and tragic, but it is a thrilling venture indeed.

‘The Critic’ Feels Like a Shakespearean Play
Image via Falcon Ink.

Right off the bat, The Critic is a self-proclaimed melodrama and that is its forte. Directed by Anand Tucker, this film about a theater critic becomes even more theater-like when he crosses paths with Land for the first time. The actress goes after Erskine because she is fed up with his mean feedback on her performances. Instead of being somewhat sympathetic towards her after this encounter, the critic taps into his devious side and convinces Land to agree to sleep with Brooke over fame and status. If this doesn’t sound Shakespearean enough, get ready for the second act! The film starts to pick up its pace after this deal takes place and every character from then on is selfish and looking to do whatever it takes to get what they want. Whether it is to satisfy a desire to get rave reviews or ignite an affair without fear of the consequences, no one here has a moral compass. These character arcs, notable in Shakespearean plays such as The Taming of the Shrew or Othello, can be hard to capture on screen without it looking like a soap opera that can’t be taken seriously. However, under Tucker’s direction and Patrick Marber’s (Closer) poignant screenplay based on Anthony Quinn’s novel, The Critic fully embraces its operatic tone without going overboard.

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McKellan and Arterton’s characters may have different personalities, but their drive to success gets the worst out of them. Erskine is callous through and through. The Lord of the Rings alum makes this cold-hearted character a likable villain with his exceptional line deliveries and captivating onscreen presence. Arterton also understood the assignment when preparing to play Land in The Critic, displaying her vulnerability and charm when performing on stage and when trying to seduce Brooke as a means to maintain her reputation in the theater realm. Although Erskine and Land have a few moments here and there where they share a laugh or a common interest over Oscar Wilde, they know the deepest, darkest secrets from one another and could at any moment use their knowledge as leverage. Near the end, these secrets take center stage in a catastrophic turn of events, leading both McKellan and Arterton to be even bolder, emotional, and unhinged in their performances. The more the story reaches a boiling point, the more attention-grabbing these two actors get on screen.

Although these characters are far from perfect, they aren’t entirely evil either. For instance, Erskine might have plenty of harsh criticism to publish, but behind his fierce writing lies a gay man who is struggling to keep his post after being threatened numerous times by the British Union of Fascists. Despite being caught at clubs or kissing his assistant in the shadows, the critic was able to keep his social standing intact but not free from warning signs. Land also struggles to maintain her agreement with Erskine, because she is secretly in love with Brooke’s son-in-law, Stephen Wyley (played by Ben Barnes). The two were lovers before Erskine convinced Land to sleep with Brooke. The fact that both of these characters aren’t black and white adds an extra layer of complexity to the affair.

The Score and Lighting Add To the Drama, Keeping ‘The Critic’ Thrilling Until its Grand Finale
Image via Falcon Ink.

In addition to the acting and melodramatic tone of Marber’s script, the score crafted by Craig Armstrong (Romeo + Juliet) has a tremendous impact in elevating the tension in this thriller. With violins getting progressively more noticeable towards the film’s climax, the music accompanying every scene from Erskine and Land’s problematic agreement to The Critic’s tragic ending is anxiety-inducing. The score and script here couldn’t have been a more fitting pair.

The dim-lit scenes also contribute to the film’s dramatic tone, because it spotlights the characters in their most vulnerable states (good and bad). For instance, near the end, Erskine notices that his position in the newspaper might once again be threatened by another character blackmailing him. With shadows covering the character’s face, he becomes even more engulfed in his dark tendencies, leading the critic to commit one of his worst sins in the film.

Even though all the characters (especially the protagonist) in this film are far from innocent or admirable, The Critic shows that the perfect recipe for a melodrama is to have antiheroes as the leads. The more chaotic their decision-making is here, the more interesting it becomes for the viewer. The script, cast, score, and lighting all make this play-like project work on screen, even though this genre is often hard to translate off the page. The operatic feel of this film is what keeps it engaging from start to finish, keeping viewers at a crossroads between love and hate. A film filled with intensity, this is a worthwhile, deliciously vile watch.

Grade: B+

The Big Picture

The Critic is a melodrama that captures the Shakespearean essence of its characters’ selfish desires and moral ambiguity. Ian McKellen and Gemma Arterton deliver exceptional performances, bringing depth and likability to their flawed characters. The score and lighting enhance the film’s dramatic tone, adding tension and highlighting the characters’ vulnerabilities and dark tendencies.

The Critic had its World Premiere at the Toronto International Film Festival.