She Said (2022)

The critic calls the film an artful, incendiary and definitive account of the reporting that helped bring down Weinstein. She praises its emotional depth and the performances of Zoe Kazan and Carey Mulligan, while noting a few stilted early scenes.

Walsh finds the film powerful and moving, though its careful approach can feel clinical and methodical. She praises Schrader’s visual storytelling and thoughtful focus on the women’s voices.

Kemp finds the film a sensitive, galvanising account of the investigation and its impact on the women involved. She especially praises Carey Mulligan and Zoe Kazan for grounding the story with powerful performances.

O'Sullivan calls the film a marvel despite occasional sluggishness and uninspired visuals. She especially praises Carey Mulligan’s performance and the film’s attention to the people who helped expose Weinstein.

Venning finds the film pedestrian in style but compelling, deeply moving at times, and never sensational. She praises its compassionate account of the investigation and the working mothers balancing reporting with family life.

The critic calls it a tense and moving drama, with a methodical approach that recalls investigative-journalism classics. They praise its depiction of how the journalists gather evidence while Weinstein remains a shadowy presence.

The critic calls the film a bold and vital call to arms, while noting that its self-sacrifice narrative is less successful. They praise its centring of women’s experiences and the intimate, non-invasive cinematography.

Smith gives the film a strongly positive review of its account of the women who exposed Weinstein. She particularly praises Carey Mulligan and Zoe Kazan’s performances.

The critic finds the drama taut, sobering and impressively thorough. She praises the lead performances and Schrader’s sensitive, unshowy direction, while noting that the score is jarringly assertive.

Newland finds the film a powerful, poignant tribute to the journalists and women who brought Weinstein’s abuses to light. She particularly praises its moving attention to the risks and silencing faced by women who speak out.

Halligan’s verdict is positive, describing Schrader’s adaptation as deft. She praises how it brings Kantor and Twohey’s Weinstein investigation to the screen.

Gleiberman finds the film tense, absorbing, and compelling, but says it lacks the payoff the story deserves. He praises its vivid portrayal of the fear surrounding Weinstein’s victims and the reporters’ painstaking work.

The critic finds the film sensible and engaging, though its leisurely pace sometimes drags. She singles out Samantha Morton’s brief, transfixing performance as Zelda Perkins for particular praise.

The page could not be read, so the critic’s verdict and any specific praise or complaint cannot be confirmed. The available text contains only a browser verification message.

The page text is unavailable, so the critic’s verdict cannot be established. No specific element of praise or criticism is visible.

The review finds the film grave and competently made but ultimately unneeded, feeling like old news rather than a meaningful addition to the Weinstein investigation’s story. It praises the restrained direction and the powerful imagery accompanying survivors’ accounts.

The critic finds the film self-important, dramatically inert, and more interested in eliciting admiration than understanding. He faults its failure to explain the system that enabled Weinstein’s abuse and the difficult choices behind sources coming forward.

Fischer finds the film’s focus on women speaking both compelling and limiting, criticizing its frictionless portrayal of the investigation and idealized view of the Times. She praises the performances of Jennifer Ehle and Samantha Morton, especially Morton’s sharply specific portrayal of a former assistant.

The critic finds the film a poignant, credible account of the investigation, though its optimistic ending overstates how much has changed. He especially praises Carey Mulligan’s performance and the film’s meticulous journalistic-procedural approach.

The critic finds the film entertaining and increasingly involving, though sometimes hokey and lacking narrative cohesion. They single out Samantha Morton’s performance in a pivotal scene as especially effective.

Hassenger finds the film sincere but too eager to explain itself, and too polite to build real tension. He praises its attention to the reporters’ work as working mothers, while faulting its lack of mood and dramatic sharpness.

Bui finds the film impassioned but pedestrian, adding little to a story audiences already know. She praises the satisfaction of watching the reporters knock on doors and follow paper trails, while faulting the film’s rote storytelling.

Complex finds the film compelling but somewhat rushed, while questioning whether its subject is being treated too soon. She praises the performances, especially those of Carey Mulligan and Zoe Kazan.

Lazic finds the film thorough and sometimes powerful, but ultimately too rushed and limited to fully reckon with Weinstein’s abuse and Hollywood’s complicity. She praises Jennifer Ehle’s sensitive portrayal of Laura Madden and the film’s nuanced depictions of survivors.

Kermode finds the film important and sensitive but says its slow pacing and leaden dialogue undermine its potential. She praises its handling of survivors’ testimony and the supporting performances, while faulting its lack of complexity and its failure to reckon with the abusive system.