The Forty-Year-Old Version (2020)

The critic calls the film a heartfelt, sharp triumph about artistic reinvention and who gets to tell Black stories. They praise its satire of well-meaning liberals and its evocative portrait of New York, while noting some pacing issues and undercooked subplots.

The critic calls the film a knockout debut. They praise its monochrome cinematography and Radha’s sublime rap lyrics.

The critic calls the film a stunning, sincere comedy about artistic compromise, praising its truthful and compassionate portrayal of marginalized artists. She particularly singles out Radha Blank’s fierce wit and the film’s authentic Brooklyn atmosphere.

Brody finds the film an enjoyable, self-aware work about artistic expression and compromise. He especially praises its visual composition and the moving scene in which Radha and D commemorate their mothers through improvised rhymes.

Flint gives the film an enthusiastic verdict, calling it endearing, erudite and humorous. She especially praises Radha Blank’s witty rap persona and the film’s fresh perspective on the artist’s struggle.

Chang gives the film a strongly positive verdict, praising its sharp, funny, and movingly specific portrait of an artist finding her voice. He singles out Blank’s elegant black-and-white cinematography and deft satire of artistic compromise and cultural privilege.

The critic calls the film a beautiful achievement and an original, delightful debut. She especially praises its inventive visual language and its nuanced portrayal of a middle-aged Black woman artist.

Debruge praises Blank’s debut as witty, honest, and politically incisive, with her comic performance and sharp writing standing out. He finds the film about half an hour too long, but says its commitment to Blank’s distinctive voice makes it land.

The critic finds the film an enjoyable, authentic account of an artist navigating creative compromise and gatekeeping. They particularly praise Blank’s naturalistic direction and the loving portrayal of underrepresented parts of New York City.

Hans finds the debut warm, funny and sharply satirical in its depiction of creative compromise. She particularly praises its observation of how women of colour are pushed to reshape their work for white audiences.

Kohn finds the film charming, purposeful, and driven by Blank’s infectious performance, despite its loose structure and excess length. He particularly praises its sharp observations about Black storytelling and Blank’s fresh, personal voice.

The critic finds the film spirited and ultimately uplifting despite thin narrative contrivances and a dragging ending. They praise its memorable neighborhood characters and Blank’s honest, self-deprecating performance.

Willmore finds the film likable, rueful, and rewarding despite its diffuse storytelling. She praises its intimate, raw feel and the painful authenticity of Radha’s artistic struggles.

Grierson presents the film as a lively debut about a woman rediscovering her creativity. The standfirst singles out its autobiographical story and creative renewal for praise.

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The critic finds Blank’s debut brave, bracingly honest and unlike anything else. They single out its truthful humor and stylish black-and-white photography.

The critic finds it a fresh, funny, and incisive film about Black creative freedom, though its final act feels overlong and overly didactic. They praise Radha Blank’s down-to-earth performance and sharp vision for examining the costs of artistic compromise.

The critic finds the film fresh, honest, and invigorating, though overpacked and meandering. Blank’s performance and candid portrayal of a Black artist seeking her voice are singled out for praise.