Rabbit-Proof Fence (2002)

Ebert gives the film a positive review, finding it moving and powerful. He singles out its beauty and deep sadness.

Berry finds the film moving and fascinating, praising its emotional restraint. She singles out the three girls’ performances, especially Everlyn Sampi’s portrayal of Molly.

The review calls the film moving, haunting and a powerful tribute to the human spirit. It praises the girls’ naturalistic performances and the film’s striking visual storytelling.

Stratton finds the film emotionally effective and successful in advancing sympathy for the Aboriginal cause, despite its lack of the poetic vision of Walkabout. He especially praises the young performers and the final footage of the real Molly and Daisy.

Phipps finds the film memorable and effective, though some choices weaken its dramatic thrust. He praises Christopher Doyle’s imagery, Peter Gabriel’s score, and the young actors’ expressive faces.

The critic calls it a forceful, gripping, unsentimental account of injustice. He singles out Christopher Doyle’s beautiful photography of the stark landscape and Peter Gabriel’s haunting score.

Quinn recommends the film for its beauty and emotional force, while finding its moral treatment less troubling than The Chant of Jimmie Blacksmith. He especially praises Christopher Doyle’s striking cinematography and the naturalistic performance of Everlyn Sampi.

The accessible page identifies this as a review, but its critical assessment is unavailable. No specific praise or complaint can be verified from the visible text.

The page is inaccessible, so the critic’s verdict cannot be established. The URL headline concerns Aborigine girls fleeing a racist program, but the review’s specific praise or complaint is unavailable.

The page identifies itself as a review, but its article text is unavailable, so the critic’s verdict cannot be determined. No specific praise or complaint can be verified from the provided content.

Rudolph argues that the film lacks an emotional hook and falls short of its political ambitions. He praises the final shots for giving the story the authority it otherwise lacks.

Dargis finds the film a serious, affecting work whose political argument is sometimes over- and under-cooked. She praises the young actresses and Christopher Doyle’s evocative cinematography, while criticizing the one-dimensional portrayal of Mr. Neville.

Jones finds the drama worthy and self-important but ultimately impactful. He praises its photography and its illumination of a shameful period in Australia's past.

The critic finds the film a powerful, deeply moving account of cruelty and survival. They single out the children’s honest performances and Christopher Doyle’s raw cinematography for praise.