The Ides of March (2011)

Kohn finds the film a darkly entertaining, lean political allegory, though its plot runs on political-intrigue autopilot. He praises the cast’s performances and Clooney’s skillful use of close-ups and stretches without dialogue.

The critic finds it a superb, dark political drama with unsettling moral accuracy. He particularly praises the intelligent script and the performances, especially Ryan Gosling, Philip Seymour Hoffman and Paul Giamatti.

Papamichael calls it a gripping thriller, with Ryan Gosling enthralling as the press secretary. She singles out his performance as the film’s standout strength.

Smith finds the film sleek, thoughtful, and likely to endure, despite some doubts about its protagonist’s naïveté. He praises its strong supporting performances and its smart nod to classic political thrillers.

The critic finds the film’s confident, understated rhythm appealing, though its conventional melodrama does not always mesh with its subtler approach. They praise Clooney’s patient, nuanced direction and the film’s attention to small professional power dynamics.

The review finds the film a well-directed, splendidly acted political parable, though it never reaches great heights. It especially praises Philip Seymour Hoffman and Paul Giamatti, whose performances give the film a convincing feel for politics’ grubby business.

Murray finds the political drama slick and watchable but ultimately slight and full of old news. He praises its strong cast and third-act twist, while faulting its lack of fresh dramatic energy.

The review finds the political thriller engaging but softened by predictable turns and a familiar shift into film noir. It singles out the superb ensemble cast and tense pacing for praise.

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Turan finds the film intelligent and involving, but says its plot becomes overly familiar and unconvincing. He praises the sharp dialogue and the cast’s spirited performances, especially the verbal sparring between Ryan Gosling, Philip Seymour Hoffman and Paul Giamatti.

Calhoun gives the film a middling rating. The page highlights its look behind the scenes of a modern American political campaign, a territory familiar from Clooney’s work.

Errigo finds the film entertaining and intelligently made, but ultimately burdened by its own seriousness and less substantial than it appears. She praises the direction and ensemble cast while criticizing implausible plot turns and abrupt character reversals.

Brooks finds the campaign thriller energetically idealistic at first, but somewhat too commercial for a Venice festival opening. He singles out its crusading zeal before noting that commercial quality as a drawback.

The critic finds the film an unconvincing political thriller, likely to satisfy viewers who see politics as conspiratorial murk. They fault its implausible plotting and its focus on campaign insiders over the voters they court.

Chang finds the drama intriguing but overly portentous, with familiar political cynicism presented as revelation. He praises Clooney’s casting of himself as a Democratic-values spokesman, while faulting the film’s implausible subplot and heavy-handed tone.

Edelstein finds the film’s political cynicism tiresome and its trajectory predictable. He praises Clooney’s compelling portrayal of an idealistic Democratic candidate.

Goldberg finds the political drama smart and well-crafted but ultimately lacking a lasting impact. He praises the performances, especially those of Gosling, Hoffman, and Giamatti.

Hogan finds the political drama well handled, tense, and elevated by its ensemble, though the ending feels frustratingly abrupt and ambiguous. He especially praises the script’s balance of idealism and the sleaze of campaign politics.

The review finds the political morality thriller gripping, though its dilemmas are too extreme and Stephen’s vanity is underdeveloped. It praises Ryan Gosling for conveying heartbreak as Stephen’s beliefs unravel.

Hickman calls the film an entertaining but forgettable, middling thriller, recommending it mainly for the appeal of its lead actors. He praises the gifted cast, especially the scenes where Philip Seymour Hoffman and Paul Giamatti explain political maneuvering, while criticizing the contrived story.

The critic calls it a solid effort that falls short of Clooney’s earlier masterpiece, while suggesting it may have lasting value as an ethics study. They praise Clooney for keeping the focus on Gosling, but say the central plot turn lacks enough weight.