--- title: "Red Joan" year: 2018 kind: "film" canonical: "https://film.one/film/red-joan" fi1m_id: "red-joan" imdb_id: "tt7615302" tmdb_id: 494974 wikidata_id: "Q47086569" fi1m_score: 45 critics_score: 42 critics_reviews: 15 published: "2026-10-05T00:49:35.075685+00:00" updated: "2026-10-05T00:49:48.580056+00:00" region: "PE" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Red Joan (2018) Directed by Trevor Nunn · 1h 41m · Thriller, History ## Identity Red Joan - **Canonical:** https://film.one/film/red-joan - **Type:** Film - **Fi1m ID:** red-joan - **IMDb ID:** tt7615302 - **TMDB ID:** 494974 - **Wikidata ID:** Q47086569 - **Same entity:** https://www.imdb.com/title/tt7615302/, https://www.themoviedb.org/movie/494974, https://www.wikidata.org/wiki/Q47086569 **Fi1m score: 45** · Critics 42 from 15 reviews *In a sentence:* Betraying your country to Stalin has rarely looked so much like a Sunday-night costume serial > Sophie Cookson makes the young Joan worth following; Judi Dench is given a kitchen table and told to look worried. Trevor Nunn has a strange true case to tell and tells it as a cosy flashback drama, without nerve or tension. ## Synopsis Joan Stanley (Judi Dench), a widow in her eighties living quietly in the English suburbs, opens her front door to officers from MI5 and is driven to an interview room. Across the table, Ms. Hart (Nina Sosanya) lays out the accusation: that decades ago Joan passed British atomic secrets to the Soviet Union. Her son Nick (Ben Miles), a barrister, sits beside her and learns who his mother was along with us. The film cuts back to Cambridge in 1938, where young Joan (Sophie Cookson), a physics student, is drawn into a circle of student communists by the glamorous Sonya Galich (Tereza Srbová) and her cousin Leo Galich (Tom Hughes). When war comes, Joan is recruited to a secret research project run by the decent, married Max (Stephen Campbell Moore). ## Review *Red Joan* has a story most spy films would kill for. An elderly woman in a cardigan is arrested at home and turns out to have handed the Russians the bomb half a century earlier, and she is not sorry. Lindsay Shapero’s script, from Jennie Rooney’s novel, which was itself drawn from a real case, splits the telling between an MI5 interview room and the Cambridge of 1938, and Trevor Nunn directs it as a handsome, well-spoken, 101-minute drama in which nobody is ever in much danger. That is the problem in one sentence. A film about treason should make us sweat at least once, and this one never does. Sophie Cookson is the reason to stay. Her Joan is clever, careful and a little flattered to be noticed, and Cookson plays the flattery honestly rather than as a weakness. The Cambridge scenes give her Sonya Galich (Tereza Srbová), who smokes and knows things, and Leo Galich (Tom Hughes), who makes speeches about Russia with his collar open. Hughes is doing what the part asks, but the part asks him to be irresistible and the writing gives him only slogans. We never believed Joan would risk her life for this man, and the film needs us to at least consider it. Judi Dench has far less to do than the poster suggests. She sits at a table, is asked a question by Ms. Hart (Nina Sosanya), says she does not remember, and is glared at by her son Nick (Ben Miles). Then the film goes back to the 1930s and answers the question for her. This happens a dozen times. Dench does what she can with it, and her face at the moment Nick stops defending her is a small, true thing. But we were bored by the hour mark, and the boredom turned to irritation each time Kristina Hetherington’s cut back to the present interrupted a scene that was finally getting somewhere. The best stretch is the laboratory. Cristina Casali gives it blackboards, filing cabinets and brown linoleum, and Zac Nicholson lights it in a dim wartime grey that is a relief after the honeyed Cambridge afternoons. Stephen Campbell Moore plays Max, who runs the project, as a tired, courteous man who notices that Joan is more than a typist and is not sure what to do about it. The two of them working a problem at a blackboard have more charge than any of the political scenes, and Campbell Moore is the only actor here who seems to be hiding something. The film’s second half gives Joan the reason the tagline promises, and we will not describe it. What we can say is that she is given the reason in a single scene, announces it in another, and the film treats the matter as settled. George Fenton’s strings swell at the appropriate moments to tell us she is right. Whether she is right is the most interesting question the material contains, and *Red Joan* is in too much of a hurry to be kind to its heroine to stop and argue it. Nunn has spent most of his life in the theatre, and it shows in the way scenes are staged: people stand in rooms and state their positions, then someone leaves. The genre runs on what people conceal and for how long. Here nothing is concealed for more than a few minutes, because the structure keeps handing the answer to Dench to pass on to us. Most critics have been a little harder on this than we are, and we do not think they are wrong, only that Cookson and the laboratory scenes earn it something. See it if you want an hour and a half of Cambridge in soft light and a good young actress carrying a film that should have been about her all along. Anyone who comes for the spying will be waiting a long time for someone to look over their shoulder. *Fi1m score 45, published 5 October 2026.* ## What the critics say Most critics come away unimpressed. The reviews describe a drab, stodgy and conventional espionage drama that does little with a promising true story, and the word “forgettable” recurs. Where praise appears, it lands almost entirely on the two leads: Judi Dench is credited with enlivening scenes the script gives her too little of, and Sophie Cookson is thought capable, with several critics finding her younger Joan the more convincing of the two. The complaints cluster on motive. Critic after critic says the film fails to make Joan’s choice to spy persuasive, and the Evening Standard goes further, arguing that it misrepresents the real spy’s politics. The flashback structure divides opinion: IndieWire finds the past more compelling than the present, while The Guardian calls the flashbacks repetitive. The spread is narrow, with one clear dissenter: The Hollywood Reporter, reviewing from the festival, finds a taut and engaging old-fashioned thriller. ## Straight answers **Is Red Joan worth watching?** *Red Joan* is only worth watching for Sophie Cookson, and we scored it 45. She makes the young Joan clever and careful, and the wartime laboratory scenes with Stephen Campbell Moore have a charge the rest of the film lacks. Anyone who comes for spying, danger or an argument about treason will find a cosy flashback drama in which nobody is ever in much peril. **How long is Red Joan, and what is it rated?** *Red Joan* runs 1h 41m. It is a thriller and history film. **Where can I watch Red Joan in Peru?** *Red Joan* is not on any streaming or rental service in Peru at the moment. It is available in 26 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is Red Joan, and is it suitable for children?** *Red Joan* is a 12A and contains little that would frighten or disturb: it is a well-spoken period drama of interview rooms, Cambridge lawns and a wartime laboratory. There is no violence to speak of and nothing we would keep a teenager from. Younger children are more likely to be bored than upset by an hour and a half of people stating their positions in rooms. **How does Red Joan compare to Tinker Tailor Soldier Spy?** *Red Joan* shares its wet, grey Britain with [*Tinker Tailor Soldier Spy*](https://film.one/film/tinker-tailor-soldier-spy), and the earlier film is much the better of the two. Tomas Alfredson keeps you worrying about who is concealing what; Trevor Nunn hands the answer to Judi Dench every few minutes, so the tension drains away. Choose *Red Joan* only if you want soft-lit Cambridge and a good young actress rather than a thriller. **Is Red Joan based on a true story or a book?** *Red Joan* is adapted from Jennie Rooney's novel, which was itself drawn from a real case of a British woman accused of passing atomic secrets to the Soviet Union. Lindsay Shapero's script keeps the novel's split between an MI5 interview room and the Cambridge of 1938. You need not know the book or the case to follow it; the film explains everything, rather too quickly. **What should I watch after Red Joan?** After *Red Joan*, try [*Tinker Tailor Soldier Spy*](https://film.one/film/tinker-tailor-soldier-spy) (2011, Fi1m 84): The same wet, grey Britain, with the tension this film keeps misplacing. Then [*The Lives of Others*](https://film.one/film/the-lives-of-others) (2006, Fi1m 84): A surveillance drama that actually asks what listening to someone costs you. ### Reviews we read (15) - **The Hollywood Reporter**, Deborah Young (75/100, inferred): The critic finds the film a taut, engaging old-fashioned spy thriller, though its central motivation stretches credibility. She particularly praises Judi Dench and Sophie Cookson, whose performances make Joan’s idealism persuasive. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/red-joan-review-1141210/) - **RogerEbert.com** (64/100, inferred): The page is blocked by a browser check, so the critic’s verdict cannot be verified. No praise or complaint can be identified from the available page text. [Read](https://www.rogerebert.com/reviews/red-joan-2019) - **Screen Daily**, Wendy Ide (64/100, inferred): The accessible page does not reveal the critic’s verdict. It identifies the film’s two lead performers but gives no readable praise or complaint. [Read](https://www.screendaily.com/reviews/red-joan-toronto-review/5132430.article) - **IndieWire**, Kate Erbland (C+): Erbland finds the film underwhelming, arguing that its fractured structure and dull older-Joan material weaken the story. She praises Sophie Cookson’s younger Joan and finds the flashback sequences more compelling and revealing. [Read](https://www.indiewire.com/features/general/red-joan-review-judi-dench-spy-world-war-ii-1202060020/) - **Evening Standard**, Charlotte O'Sullivan (2/5): O’Sullivan finds the drama stodgy and misleading, arguing that it distorts the real spy’s politics. She praises Judi Dench’s impish performance but says the film gives her too little to do. [Read](https://www.standard.co.uk/culture/film/red-joan-review-british-spy-granny-betrayed-by-a-turgid-and-misleading-tale-a4121106.html) - **Little White Lies**, Caitlin Quinlan (3/2/2): Quinlan finds the film safe, limp and forgettable despite its bold subject. She praises Judi Dench’s performance and the effort to clarify Joan’s political motives, but says the role is limited. [Read](https://lwlies.com/reviews/red-joan) - **Radio Times**, Alan Jones (2/5): Jones finds the film a drab, cliché-ridden melodrama despite its compelling true-story basis. He praises Judi Dench’s casting and performance, and notes Sophie Cookson is capable in the flashbacks. [Read](https://www.radiotimes.com/movie-guide/b-e6hyh9/red-joan/) - **Time Out**, Phil de Semlyen (2/5): The critic calls the film a drab disappointment despite Judi Dench’s enlivening presence. The review singles out the musty Cold War thriller as a weakness. [Read](https://www.timeout.com/movies/red-joan) - **Los Angeles Times**, Kenneth Turan (30/100, inferred): Turan finds the film polished and diverting but ultimately hollow and unconvincing. He praises Sophie Cookson’s capable performance, while faulting the film’s attempt to justify Joan’s spying as a cause of peace. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-red-joan-judi-dench-review-20190418-story.html) - **The New York Times**, Jeannette Catsoulis (30/100, inferred): The review is negative, finding the spy drama dull and unconvincing. It singles out the film’s failure to make its subject’s choices compelling. [Read](https://www.nytimes.com/2019/04/18/movies/red-joan-review.html) - **Empire**, Amon Warmann (25/100, inferred): Warmann finds the espionage drama bland, conventional and forgettable despite its promising premise. He praises Judi Dench and Sophie Cookson for strong central performances, especially Cookson’s convincing portrayal of Joan’s younger self. [Read](https://www.empireonline.com/movies/reviews/red-joan-review/) - **The Guardian**, Pamela Hutchinson (25/100, inferred): Hutchinson finds the espionage drama stodgy, cosy and mediocre. She praises Judi Dench’s performance in old age, while faulting the repetitive flashbacks and implausible plotting. [Read](https://www.theguardian.com/film/2018/sep/12/red-joan-review-judi-dench) - **Variety**, Dennis Harvey (20/100, inferred): Harvey finds the film dreary, unconvincing and uninspired. He particularly faults the weak chemistry and flat portrayal of Joan’s motives. [Read](https://variety.com/2018/film/reviews/red-joan-review-1202933114/) - **Eye for Film**, Jennie Kermode (35/100, inferred): Kermode finds the film less substantial than its premise suggests, with spy-film fans likely to leave disappointed. She praises its exploration of historical issues and culture change, as well as Judi Dench’s performance. [Read](https://www.eyeforfilm.co.uk/review/red-joan-2018-film-review-by-jennie-kermode) - **The Wrap** (30/100, inferred): The review finds the film dramatically weak and its story’s motivations unconvincing, despite its easy, nostalgic appeal. It singles out the underused Judi Dench and the failure to build tension around Sophie Cookson’s performance. [Read](https://www.thewrap.com/red-joan-review-judi-dench/) ## Details - **Director:** Trevor Nunn - **Director:** Trevor Nunn - **Screenplay:** Lindsay Shapero - **Novel:** Jennie Rooney - **Cinematography:** Zac Nicholson - **Editor:** Kristina Hetherington - **Music:** George Fenton - **Production design:** Cristina Casali - **Producer:** David Parfitt - **Cast:** Judi Dench as Joan Elizabeth Stanley; Sophie Cookson as Young Joan Elizabeth Stanley; Tom Hughes as Leo Galich; Tereza Srbová as Sonya Galich; Stephen Campbell Moore as Max; Ben Miles as Nick; Nina Sosanya as Ms. Hart; Laurence Spellman as Mr Adams - **Runtime:** 1h 41m - **First release (Brazil):** 13 September 2018 - **Genres:** Thriller, History - **Trailer:** https://www.youtube.com/watch?v=gkecgBW-Y80 ## Where to watch in Peru Not streaming, renting or buying in Peru at the last check. Also available in: AE, AR, AT, AU, BE, BR, CA, CH, CL, CO, DK, ES, FI, FR, GB, IE, IN, IT, JP, MX, NL, NO, NZ, PA, SE, US. Add `?region=XX` to this URL for another country. ## If you liked this - *Tinker Tailor Soldier Spy* (2011), Fi1m 84: The same wet, grey Britain, with the tension this film keeps misplacing. — [Fi1m page](https://film.one/film/tinker-tailor-soldier-spy.md) - *The Lives of Others* (2006), Fi1m 84: A surveillance drama that actually asks what listening to someone costs you. — [Fi1m page](https://film.one/film/the-lives-of-others.md) - *The Spy Who Came in from the Cold* (1965): Richard Burton, shabby and cold, in the Cold War film that set the standard. - *Cambridge Spies* (2003): The real Cambridge recruits, over four hours, with the ideology taken seriously. - *Another Country* (1984): How a public-school boy decides to betray England, told with wit and sadness. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/red-joan