All the Beauty and the Bloodshed (2022)

O'Sullivan calls it the best documentary of the year, while warning that it is emotionally devastating. She praises how Poitras intertwines Goldin's campaign against the Sacklers with the tragedies in Goldin's personal life.

The critic calls the documentary a towering, emotionally powerful achievement. She praises how Poitras connects Goldin’s life, art, grief, and activism into a coherent whole.

Linden calls the documentary a sublime, gritty knockout and says its interwoven stories are likely to shake viewers to the core. She especially praises how Poitras and Goldin bring Goldin’s family history, artistic life, and activism together.

Kemp finds the documentary urgent and deeply affecting in its portrait of Nan Goldin’s art and activism. She singles out the way Goldin’s photographic work gains added poignancy and political force on screen.

Abele finds the documentary enthralling and exhilarating, showing how art and activism can create meaningful change. He especially praises Poitras’ suspenseful, artful interweaving of Goldin’s personal history, photographs and campaign against the Sacklers.

The critic finds the documentary tremendously moving and illuminating, unifying Goldin’s personal history with her activism. They praise its beautifully constructed storytelling and intimate use of Goldin’s voice and photography.

Hoffman calls the documentary profound, deeply moving, and among the year’s best. He praises how Poitras brings Goldin’s activism and personal history together to reveal the consistency of her life’s work.

Willmore calls the documentary an incandescent, vital portrait that connects Goldin’s art, personal history, and activism. She praises the film’s depiction of Goldin and fellow activists disrupting the Sacklers’ cultivated respectability with protest.

Ide finds the documentary gripping and stirring, praising its deft interweaving of Goldin’s biography and creative history with her campaign against the Sacklers. She especially singles out the nervy tension of the protest and covert-meeting footage.

The critic finds the documentary remarkable, moving, and propelled by a strong sense of justice. She particularly praises how Poitras uses Goldin’s photographs and slideshows to reveal a life of intimacy, loss, and activism.

The review finds the documentary passionate and inspirational, presenting Goldin as a crucial witness and forceful activist. It singles out her frankness about painful experiences and the scope of her artistic and political work.

The review presents the documentary as a scathing takedown of the Sackler family. It singles out the collision of art, activism and the opioid crisis as its strength.

Ide finds the documentary absorbing and presents it as a compelling portrait of Nan Goldin’s campaign. She praises how Poitras places Goldin’s battle against the Sackler family alongside her artistic background.

The review finds the film somewhat unwieldy, but ultimately an affectionate and powerful portrait. It especially praises Goldin’s candid storytelling and the illuminating presentation of her photographic art.

Gleiberman finds the documentary deft and satisfying, ultimately praising how it weaves Goldin’s art and activism together. He singles out Poitras’s excavation of the trauma underlying Goldin’s photographs and her resistance to unjust authority.

The critic’s verdict cannot be determined from the supplied page. No specific praise or criticism is available because the article content is inaccessible.

Latif finds the documentary less than the sum of its parts, with a somewhat vague purpose. She praises Goldin’s extraordinary life and activism, but says the film’s many subjects and unresolved implications weaken the result.

Boccella calls the documentary incendiary and argues its blend of art, community, and activism makes its message powerfully clear. She praises how Nan Goldin’s photography and personal story connect with her campaign against the Sacklers.

Bunbury finds the documentary gripping and calls it a stupendous work. She especially praises how Poitras connects Goldin’s activism with her candid account of her life and photography.

Hicks calls the documentary masterful and says it deepens appreciation for Nan Goldin’s life and work. He especially praises Goldin’s candid, compelling storytelling and the way her photographs speak for themselves.

The critic praises the film as a masterful, intimate portrait that intertwines Goldin’s art and activism. They single out Poitras’s use of Goldin’s photographs and archival material for its vivid, moving restoration of the artist’s community.

Robertson gives the documentary a strongly positive verdict, finding its considerable length worthwhile. He singles out the staggering intimacy of Goldin’s story and the film’s unflinching use of personal and archival material.

The critic calls the documentary a compelling, important portrait of Nan Goldin and her activism. They single out Poitras’s use of Goldin’s photographs and dark landscapes to convey her experiences.

The review finds the documentary profoundly moving and politically resonant. It praises how Poitras weaves Goldin’s intimate personal history together with her art and activism.

The headline presents the film as a powerful, grief-focused portrait. It singles out Poitras’s rumination on grief, but the review text was inaccessible.