Star-studded and stuffed with promise, The Critic should be a recipe for an engaging and delicious murder mystery but unfortunately its debut has been met with some pertinent critique of its own. Loosely based Curtain Call, a novel by Anthony Quinn, and directed by Anand Tucker, The Critic stars Sir Ian McKellen as Jimmy Erskine, a cruel queer critique of theatre, based at the Daily Chronicle, and how he connives and manipulates those around him to keep his position as the new owner of the paper, Viscount David Brooke (Mark Strong) comes for his head.
In the beginning the film feels more like a comedic period piece. The attention to detail in the set dressing and character costume really evokes the 1930s setting, adding a richness to the story that immediately envelopes the audience. The humour comes from Erskine’s savage theatrical critiques, with over the top character attacks and pretentious vocabulary, as well as the melodramatic acting McKellen brings to the screen. His dramatic energy is met by the extravagant Nina Land (Gemma Anderton), who is a frequent victim of Erskine’s overblown reviewing. She becomes a pawn for Erskine to use when trying to blackmail the Viscount into keeping him at the paper, in return for a lifetime of accolades and support by him in the media.
Another added layer of detail to this story is the oppressive air homophobia and fascism from the police and an unnamed lightning-bolt bearing militia group. While this is not very well explored, it is clear that Erskine and his live-in ‘secretary’ Tom Turner (Alfred Enoch) are at risk of persecution for their homosexuality. At one point a very drunk Erskine taunts a group of men wearing the lightning bolt insignia, who chase him, and he is eventually apprehended and questioned by a policeman also bearing the same threatening bolt. Both men are eventually freed with the help of the Viscount.
As their plans spin out, the mood of the film shifts to more of a murder mystery as Erskine’s vitriol and swinging aggression leap off the page and into real life. You could say he is pushed to it, with the Viscount threatening to expose his ‘proclivities’ and terminating his employment at the paper. However, Erskine seems less worried by the clear threat to his life (and Tom’s), and instead more concerned that he will have to tone down his lavish life.
In all, Erskine is wholly unlikable, and I think that is the point. McKellan’s performance of a bitter, twisted old man, is enhanced by long, slow close ups that highlight his frequent sneers and repulsive jowly face, and encourage disgust from the audience. We’re therefore not entirely surprised when this ghoul of a man takes his crooked plans to their violent extremes.
With a strong cast, entrancing cinematography and deliciously immersive sets and costuming, you might be wondering where this film starts to decay. I too, was wrapt in the first two-thirds of the film, but as the story begins to darken and take on more of a thriller tone, Tucker begins to lose the audience. It feels like the film is trying to do too much, and loses its identity. People begin to die without clear reasoning and there are gaping holes in the plot. I think even Erskine himself would have to admit, this film is all looks and no real substance. 4/10
