The Two Popes (2019)

Freer finds the film funny, engrossing and thoughtful, calling it Meirelles’ most entertaining work in years. He especially praises Hopkins and Pryce, whose performances and chemistry bring the central relationship to life.

Farber calls the film a triumph, praising its writing and the lead performances. He particularly singles out Anthony Hopkins and Jonathan Pryce for matching each other in subtlety and charisma.

Debruge finds the drama brilliant, emotionally engaging, and thoughtful about the Church’s future. He especially praises the performances of Anthony Hopkins and Jonathan Pryce and the film’s deft, spirited dialogue.

Turan finds the film a lively, crowd-pleasing drama with a serious side. He especially praises Hopkins and Pryce, whose performances make the conversations between the two leaders compelling.

O'Sullivan calls the film an intelligent, moving tragi-comedy and says it is a pleasure to watch. She singles out Jonathan Pryce's superlative performance, alongside the nimble script and zippy visuals.

Collins presents the film as an entertaining two-hander, with both lead performances singled out for praise. He highlights the actors’ barnstorming work in a story built around their conversations.

Kemp finds the film remarkably plausible, consistently watchable and ultimately riveting, despite occasional cosiness. He especially praises the dialogue and the performances by Anthony Hopkins and Jonathan Pryce.

The review finds the film entertaining, with its strongest moments coming from the central pairing. It praises Anthony Hopkins and Jonathan Pryce as a delightful odd-couple duo.

Willmore finds the film surprisingly compelling, though its talkiness and idealized portrayal of Francis hold it back. She especially praises Anthony Hopkins’s vulnerable performance as Benedict XVI.

Kohn finds the film charming and accessible, though its light tone and softened treatment of church scandals limit its depth. He especially praises Jonathan Pryce and Anthony Hopkins, whose chemistry and performances bring warmth to the story.

The available standfirst gives a positive impression of the film. It singles out Anthony Hopkins and Jonathan Pryce as a formidable team.

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D’Angelo finds the film unconvincing, calling its imagined conversation between the popes implausible and its exposition clumsy. He praises Hopkins and Pryce for bringing gusto to the dialogue despite their accents.

Bramesco finds the film intellectually rich but says Meirelles’s visual flourishes distract from its central performances. He praises Hopkins and Pryce for making the characters’ inner lives and contradictions compelling.

Ide finds the fact-based drama unexpectedly entertaining, though its flashbacks and faltering pace weaken the second half. She especially praises Jonathan Pryce’s performance for engaging with and embracing the rest of the cast.

Brown argues that the film sentimentalizes the relationship between the two popes while sidestepping institutional corruption. The review criticizes its dated, distracting camerawork and its handling of the abuse scandal.

The critic finds the film captivating and warmly engaging, especially when the two central characters talk and respond to one another. She also praises the visual storytelling and performances, while wishing the film had explored young Ratzinger’s past as fully as Bergoglio’s.

The critic finds the film delightful, entertaining, and heartwarming. They especially praise the witty script and the chemistry between Jonathan Pryce and Anthony Hopkins.

Goldberg finds the film an engaging, thoughtful character study that humanizes its two popes. He especially praises the performances of Jonathan Pryce and Anthony Hopkins, while noting the film could explore their differing approaches to the Church more deeply.

The critic finds the film well-crafted and entertaining, with a minor missed opportunity in its treatment of Ratzinger’s past. Pryce and Hopkins’ chemistry and performances are singled out for praise.

The review finds the film an enjoyable, occasionally ponderous drama. It especially praises the chemistry between Jonathan Pryce and Anthony Hopkins, and the moments when their characters’ relationship comes alive.

The review calls the film impressive and eminently reliable, though not a standout for its director or stars. It praises the lead performances and Meirelles’s direction, especially the poignant sequences revealing Francis’s past.

Han finds the film engaging but held back by its reliance on real-life backstory and its glossing over institutional scandals. She especially praises the lively, affecting performances and sparring between Pryce and Hopkins.