All Is True (2018)

Robey gives the film a positive review. He praises its witty, lovely meditation on Shakespeare’s legacy.

D’Angelo finds the film a credible, engrossing melodrama, though its family drama cannot compete with Shakespeare’s enduring genius. He especially praises Branagh’s ardent recitation of a sonnet to the Earl of Southampton.

Greene finds the film an intimate, thoughtful portrait that makes Shakespeare feel human, despite occasional clunky dialogue. He especially praises the monologue about Shakespeare’s deceased son as a striking expression of the playwright’s flaws.

Bradshaw finds the film sentimental, likable and melancholy, though some moments feel less sure. He particularly praises the elegantly managed exchange between Shakespeare and the Earl of Southampton.

O’Hara finds the film quiet and meditative, with an elegiac sense of regret, though it lacks incident and high stakes. She singles out the confrontation between Shakespeare and the Earl of Southampton as quietly devastating.

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The available page does not reveal the critic’s verdict. It also provides no specific praise or complaint beyond identifying the film as a dramatisation of Shakespeare’s final years.

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O'Sullivan finds the drama ludicrous and short on intentional laughs, but ultimately involving. She praises Judi Dench's witchy presence and Ian McKellen's spellbinding performance.

Johnston describes the film as a relatively modest, poignant treatment of Shakespeare’s final years. He singles out Branagh’s prosthetic nose and wig as disconcerting.

McCarthy finds the film respectable but overly expository, with limited complexity and appeal. He singles out the fireside conversation with Ian McKellen as its highlight.

Ehrlich finds the film inert and self-serious, with its portrait of Shakespeare failing to reconcile genius and family life. He praises Kathryn Wilder’s performance for conveying Judith’s love and contempt at once.

Quinlan finds the biopic pompous, self-indulgent, and overly reverential toward Shakespeare. She faults it for glossing over the pain he caused his family and failing to examine his relationships more deeply.

The review finds the drama rich in poetry but lacking sophistication. It singles out the film’s poetry as a strength, while criticizing its lack of sophistication.

Lane finds the film slow and loose, with a mostly autumnal mood, though he sees enough value to recommend not skipping it. He singles out the firelit exchange between Branagh and Ian McKellen as a moving showcase for their command of Shakespeare’s verse.

Abele finds the film a disappointing, high-culture plod that strains to honor Shakespeare. He singles out the fireside exchange between Branagh and Ian McKellen as a moving glimpse of the play the film might have been.

Debruge dismisses the film as a revisionist fiasco and a sloppy soap opera. He criticizes Branagh’s distracting prosthetics and the screenplay’s clumsy dialogue and speculative treatment of Shakespeare’s life.

The critic finds the film thoughtful and flawed, with its emotional impact strongest in understated moments. They praise the fireside conversation with Ian McKellen and the period design, while faulting the script’s heavy exposition and lack of nuance.

Munro finds the film ordinary, bitty, and incohesive. He praises the cinematography and landscape shots but criticizes Branagh’s performance and conspicuous prosthetics.

The critic finds the biopic solemn and weighed down, failing to match the insight of Branagh’s Shakespeare adaptations. Dench and Wilder are praised for bringing depth and spirit to their characters.