There’s an inescapable irony in a critic reviewing a film called The Critic which has – yes, you’ve guessed it – a critic as its central character. And, even though we’re talking theatreland here rather than cinema, it’s just as acute and, in its own way, ever so slightly delicious. He cuts a familiar figure, popular with his newspaper’s audience who lap up his waspish prose but less of a favourite with any performer unfortunate enough to be his latest target. In the 1930s, he can make and break reputations with a flourish of his pen. Today, he would be all over TikTok like a rash.
In Anand Tucker’s film, Jimmy Erskine (Ian McKellen) is the most famous and feared of drama critics and part of the old guard at The Daily Chronicle. But the arrival of new proprietor David Brooke (Mark Strong), with his plans to turn the paper into a family publication, spell potential disaster. There’s no room for Jimmy’s singular brand of invective and his job looks to be on the line. Cue actress Nina Land (Gemma Arterton), a regular target for his abuse, who decides to take him to task for his vitriol and turns out to be exactly the partner in crime he needs to help him hold on to his affluent lifestyle – and keep his own secret under wraps.
Patrick Marber’s name on the credits as writer immediately whets your appetite for a probing delve into nastiness with language to match – think Notes On A Scandal – and for the first half of the film it seems to be heading in that direction. Jimmy is, without doubt, an unpleasant piece of work, although the 30s setting takes the edge off the language – “replace damp squib with wet blanket” – so his withering reviews create more humour than pain and the seediness of the theatrical community is portrayed with an unexpected affection. But, having started out as a near-comedy, the story suddenly does a volte face and decides it’s a more of a thriller. Jimmy wouldn’t approve and he’d be right, because the film loses its direction, becoming a less satisfying, hit-and-miss affair.
That the second half doesn’t totally lose its wicked sense of fun is mainly down to the cast, McKellen in particular, immersing himself in Jimmy’s world of luxury and general cattiness with unfiltered gusto. The role has his name written all over it and he’s clearly having the time of his life. He’s pleasantly well-matched by Arterton as an actress who hasn’t, as yet, fulfilled her potential, yet the relationship between critic and artist is sadly under-explored, even though this is a double act that would have easily done it justice. Not all of the cast are given the screen time they deserve. Lesley Manville in particular, is pitch perfect as Nina’s mother, wanting to support her daughter but reluctantly finding herself agreeing with Jimmy’s assessment of her talents, such as they are. It’s a fine performance, but one that feels like it’s been pushed to one side.
Is it a thriller? Some have described it as such. Or a comedy? It’s neither, yet it’s partially both, a sandwich of the two genres with little to hold them together, all of which may be the result of re-editing and re-shoots that followed its original screening at Toronto last year. Whatever the reason, it makes for an inconsistent and frustrating experience. Despite its enjoyable portrayal of theatre life, all shabbiness and superficiality, and the performances of its leads, McKellen in particular, you can imagine Jimmy brandishing his sharpest pen to review The Critic. And he wouldn’t be overly kind.
★★★
In UK cinemas from 13th September / Ian McKellen, Gemma Arterton, Mark Strong, Lesley Manville, Romola Garai, Ben Barnes, Alfred Enoch / Dir: Anand Tucker / Lionsgate / 15
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