A powerful London theatre critic lures a struggling actress into a blackmail scheme with deadly consequences.
Ian McKellen as Jimmie Erskine steals the show in this send-up of a simultaneously flamboyant and prickly version of stage critics in their heyday, when a few simple words could elevate or eviscerate an actor, director, writer – or any combination thereof – with the flick of a keystroke. His forty years with the Chronicle have earned him an exulted – if somewhat tenuous – position in the media. Faithfully typing out Erskine’s reviews is Tom Turner (Alfred Enoch) in the opulent residence in which they both reside, courtesy of Erskine’s near-monopoly as an arbiter of high culture and good taste.
Shortly after the opening credits roll, the elderly owner of The Daily Chronicle dies, leaving his son David Brooke (Mark Strong) in charge of the newspaper. Over the years, costs have gotten out of hand, with expense account lunches and lavish dinners consisting of gourmet food and ubiquitous libations. Brooke plans to economize limited resources and return the institution to its former glory – an undertaking resisted by Erskine and the old guard of other commentators and critics. It’s not hard to see why. Erskine and company enjoy a pretty sweet deal in exchange for putting down a few words on paper.
As actress Nina Land (Gemma Arterton) prepares to take the stage, she remains terrified about what sort of review Erskine will write. While her performance in the play is more than adequate, Erskine delights in the art of the insult – his calling card as a critic. The morning after opening night, Land buys up a copy of all the major London dailies; there seems to be only one review that matters – Erskine’s. As she sets the others aside, Nina soaks up every vitriolic syllable that Erskine gleefully delivers. Most folks in the upper crust that matter – including the Chronicle’s new publisher, Brooke – disagree steadfastly.
When Nina’s pushy mother, Annabel Land (Lesley Manville), sits down and helps herself to Erskine’s bowl of nuts resting unmolested on his private table and then tries to influence his review, he goes apoplectic, calling out to the staff to protect him from the public.
Later, Annabel encourages Nina to confront Erskine to regain self-respect. When Nina does so, stalking Erskine outside his home, he literally runs away. With escape impossible, Erskine turns and asks Nina what she requires. As she outlines the unflinchingly cruel reviews Erskine has issued about her over the past decade, Erskine can barely contain his pleasure at the outburst. That is until Nina realizes Erskine is gay and thus vulnerable to blackmail. Still, she admits to having been a fan since childhood. He rushes off to his next appointment, leaving Nina with the comment that she knows where he lives and may visit if she wishes.
Erskine’s reviews rely heavily on his expansive vocabulary, steeped in Latin etymology. While he revels in the obscure references, his editor, Gideon Lambert (Jasper Britton), seems less than impressed. He doubts whether the readers will be familiar with some of the terms – to which Erskine replies that he doubts whether the Chronicle’s readers can read at all.
As the cost-cutting layoffs ensue, the old-timers make for an easy target – all arguably overpaid and overrated. Brooke spares Erskine but warns him to tone down the criticism. They debate for a moment, but the die is cast. Backed into a corner, fighting for his job and livelihood, Erskine hatches a plan.
Meanwhile, Cora Wylie (Romola Garai)—daughter of Brooke—spars with her husband Stephen (Ben Barnes) over their appraisal of a new play. When Cora comments on the stilted dialog, Stephen reminds her that the drama was written in the 17th century. Later, we learn that Stephen had kept Nina as his mistress until their recent breakup, which adds to the intrigue later in the film.
The set design readily evokes the gilded atmosphere of those more fortunate in 1930s London. In a posh theater full of well-dressed patrons, men and women alike light up their smokes without a second thought. Overall, it is a sumptuous production that will transport viewers to an earlier time. Adapted to the screen by Patrick Marber, based on the novel “Curtain Call” by Anthony Quinn, and directed by Anand Tucker, “The Critic” offers a glimpse into the life of an eccentric critic of the arts, brought fully to life by master thespian Ian McKellen.
Now Playing in Select Theaters Nationwide
3.4k
20k
1.5k
1.3k