The Swimmers (2022)

The review presents the film as an empowering, heart-filling drama. It singles out the sisters’ journey through conflict as its strength.

Ide finds the refugee journey strikingly powerful, but says the film becomes a conventional underdog sports drama. She praises the immersive camerawork and editing while faulting the feel-good ending.

Baughan presents the film as a striking real-life drama. The accessible standfirst singles out its true story, while the paywall hides the fuller assessment.

The critic finds the film potent but uneven, with the sisters’ survival story more rewarding than its conventional Olympic finale. He praises the tender performances and enduring bond between the sisters, while faulting the overuse of Western pop music.

Thomas finds the film fascinating and important, though sometimes baggy and overly long. He praises the sisters’ strong performances and the thrilling, suspenseful sequence at sea.

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Jenkins finds the film affecting and effective, but generic and overburdened by its earnest messaging. He singles out the perilous boat-crossing sequence as especially powerful, while noting the film struggles to regain its emotional force.

The critic finds the film mostly pleasurable and affecting, but says its pacing makes it baggy and emotionally muted. They praise the Issa sisters’ chemistry and single out the haunting image of littered life jackets and shoes along the coast.

The critic finds the film an uninspiring, predictable attempt at a feel-good refugee story. They praise several striking visual images but fault the shallow character development and unexamined realities of the crisis.

Debruge finds the refugee sisters’ story compelling but says the film’s 134-minute length and feel-good flourishes weaken it. He praises Nathalie and Manal Issa’s chemistry and performances, especially during the perilous sea crossing.

Hammond calls the film a stirring, suspenseful refugee story and says it may be a surprise winner for Netflix. He praises the Issa sisters’ convincing performances and El Hosaini’s command behind the camera.

Milner finds the film emotionally powerful and ultimately satisfying, though overlong and uneven in tone. She praises its striking visual moments, especially the contrast between the sisters’ joyful rooftop dancing and the violence around them.

The critic finds the film awkwardly melodramatic but ultimately effective and moving. The harrowing refugee crossing at sea stands out for its tense, disorienting portrayal.

The headline characterizes the film as an overly orchestrated crowd-pleaser, suggesting a qualified or negative verdict. It singles out the film’s orchestration as the main flaw.