News of the World (2020)

Ebiri gives the film a strongly positive verdict, calling it hauntingly gorgeous and praising Tom Hanks’s moving performance. He also singles out the film’s expansive vistas and James Newton Howard’s sweeping score.

Rooney finds the film soulful, affecting, and gently resonant, praising its intimate story of two people finding trust amid division. He singles out the nuanced performances by Tom Hanks and Helena Zengel, especially their shifting dynamic.

O’Sullivan finds the film daring and often world-class, though its attempt to find middle ground does not always succeed. She especially praises Helena Zengel’s off-kilter poise and enchanting performance.

The review calls the film an evocative, atmospheric Western that remains faithful to genre conventions. It particularly praises the stunning photography and Tom Hanks’s reserved performance.

The review calls the film an emotional, soulful western. It praises the performances of Tom Hanks and Helena Zengel.

Macnab finds the film a handsome, moving western that renews familiar genre material with a contemporary perspective. He particularly praises Tom Hanks’s understated, layered performance and the convincing bond between Hanks’s character and the child.

Ehrlich finds the Western modest and emotionally uneven, but morally forceful in its portrait of a divided nation. He praises Tom Hanks and Helena Zengel’s performances, especially their grounded portrayal of two rootless characters seeking a home.

Freer finds the film less gripping than Greengrass’s best work, but expansive, beautifully made, and quietly powerful. He especially praises the performances of Tom Hanks and Helena Zengel, whose characters’ journey gives the story its emotional force.

Tallerico gives the film a positive but measured review. He singles out Tom Hanks’s performance and the film’s carefully crafted Western atmosphere.

The page identifies this as a review of the 2020 film, but the critic’s verdict is unavailable behind the access prompt. The visible standfirst only notes Hanks, Greengrass and Universal, without identifying a specific praise or complaint.

The article text is inaccessible, so its verdict cannot be determined. Its specific praise or criticism likewise cannot be verified.

Bramesco finds the film handsomely mounted but staid and overly safe. He praises Helena Zengel as a magnificent find and notes how Tom Hanks’s reassuring presence suits the story.

The review finds the film worthwhile for its fine lead performances, though its plot has problems. It praises the emotionally potent moments between Kidd and Johanna but faults the film’s stereotypes and simplistic build-up.

Chang finds the western sensitive and skillfully told, but ultimately less than wholly convincing. He praises Helena Zengel’s performance and rapport with Tom Hanks, while faulting the film for treating her character as a problem to be solved.

The critic finds the film a decent but overly restrained drama that never quite takes flight. They praise its landscape cinematography and note that genuine emotion emerges late in the story.

Bowen finds the film monotonously preachy and its uplifting parable too simplistic. He singles out the lynched man’s removal as its most haunting detail, while criticizing the leads’ underdeveloped inner lives.

Bradshaw finds the western stolid and bland, rarely coming dramatically alive. He praises the tense chase scene, where Greengrass’s action skills flare up and Hanks’s decency is tested.

Debruge finds the film gorgeous but dull, with little suspense or incident along its journey. He praises Helena Zengel’s defiant performance and the widescreen Texas landscapes, while faulting the film’s unengaging pacing.

Goldberg finds the film a warm, comforting Western with an earnest message about communication and healing. He praises Tom Hanks’s convincing decency and the film’s sweeping landscape imagery.

Crump finds the film a handsome, pleasantly old-fashioned crowd-pleaser. He especially praises Helena Zengel’s transformation and the chemistry she shares with Tom Hanks.

Crow finds the film tender, inviting, and satisfying, despite its predictable path and occasional awkward thematic clashes. He particularly praises Helena Zengel’s compelling performance alongside Tom Hanks.

Kermode finds the film a well-told, well-structured western, despite its lack of surprises. She especially praises Helena Zengel’s electric performance and the way she and Tom Hanks work together.

The critic finds it a robust, unfussy western that is more engaging for its emotional focus, despite a predictable story. They single out Helena Zengel and Tom Hanks, whose performances and empathetic double act bring the film to life.

The critic finds the film uneven and predictable, despite its considerable strengths. Tom Hanks’s subtle performance and the storytelling scenes are singled out for praise.

The critic calls it a decent, worthwhile watch and finds its old-school Western approach engaging. They single out the heartwarming pairing of Tom Hanks and Helena Zengel and the film’s sumptuous landscapes for praise.

The critic finds the film an emotionally engaging Western, though its newspaper-reading and child-rescue storylines never fully converge. They praise the quiet gravitas of Tom Hanks and the intensity Helena Zengel brings to her role.

The critic finds the film a slow, rough-edged but ultimately compelling Western, saved by its lead performances. They single out Helena Zengel’s nuanced portrayal and the film’s faith in storytelling to bridge divisions.