Ink (2026)

Ebiri calls the film Boyle’s best in decades and says it may be a masterpiece. He praises Boyle’s electrifying direction, which turns the newspaper drama into an anthemic, fearsome experience.

Lodge finds the film riveting and morally unsettling, with its critique of tabloid journalism complicated by its own flashy style. He especially praises Jack O’Connell’s charismatic performance as Larry Lamb.

Lattanzio finds the film vividly directed and strongly acted, but ultimately overcooked in its political messaging. He especially praises Claire Foy’s performance and the film’s lively period details.

The review presents the film as a seductive, high-energy portrait of ambition and media disruption. It singles out Jack O’Connell’s magnetic performance as Larry Lamb.

The available description presents the film as an energetic, unapologetic success. It singles out Boyle’s fizz, compared with that of Trainspotting, for praise.

Rooney finds the film vigorously entertaining, though its moral perspective remains elusive. He praises Boyle’s kinetic direction and the ensemble, especially the performances of Guy Pearce and Claire Foy.

Bradshaw finds the film lurid and confident, but uneven in how it handles its central tragedy. He praises Jack O’Connell’s tough, assured performance while faulting the film’s detached treatment of the kidnapping.

The critic finds the film toothless and bland. He faults it for offering no clear point about the tabloid’s origins.

Ross finds Boyle’s film all style and little substance, and says it never delivers its promised takedown of Murdoch. She particularly faults its flashy gimmicks and overwritten dialogue for undermining its critique of media power.

Hammond finds the film thrilling, lively, and chilling in its portrayal of the origins of Murdoch’s media empire. He especially praises the visual energy of Boyle’s direction and the performances of Jack O’Connell and Guy Pearce.

The critic finds the film thrilling, funny and thought-provoking, praising its writing and direction. Jack O’Connell’s charismatic performance as Larry Lamb is singled out as a highlight.

Shaffer finds the film entertaining and kinetically made, but overstuffed with style and too rushed to develop its characters. He praises Boyle’s punk-rock visual energy, while noting that the relentless camera flourishes become exhausting.

The critic finds the film exhilarating but ultimately weighed down by repetitive, relentless escalation. Boyle’s frenetic visual style is praised for capturing the tabloid’s sensational cadence, though the critic says it cannot overcome the story’s repetition.