Most critics admire Listen to Me Marlon, and the praise lands almost entirely in one place: the tapes. Brando recorded himself for years, talking about acting, his childhood and his failures, and the reviews agree that hearing him analyse his own life is the film’s reason to exist. Several call the effect ghostly or revelatory, and the archive collage Riley builds around the voice is thought textured and well assembled.
The reservations concern what is done with the tapes rather than the tapes themselves. The New Yorker thinks the finished film unworthy of its source and finds Riley’s imagery, sound and editing a distraction from the voice. The AV Club calls it ordinary, telling anyone who already knows Brando little new, and dislikes the score. HeyUGuys, otherwise enthusiastic, notes that some of the audio is hard to make out. The spread is wide, from near-raves at Vulture and Variety down to one outright rejection, with most reviews settling comfortably on the positive side.
