J. Edgar

Just like with Lincoln, I won’t agree with most people that J. Edgar is an average film, as I will remember this film long after watching it. Even though I’m not a fan of political matters, I was captivated by all the facts I heard in the film. With all the knowledge I gained, I expanded my understanding of American history. Clint Eastwood once again outdid himself, delivering one of the best biographical films I’ve ever seen. Everything about the film was handled perfectly, without a single small mistake. Leonardo DiCaprio was in a league of his own, and his performance will remain unforgettable for me. The same goes for Armie Hammer. The flawless chemistry between them radiated even from the actors themselves. This is exactly what sets ordinary actors apart from those naturally gifted. The ending was very emotional, but it was expected that it had to end this way. And thank you to Mr. Eastwood for the brilliant music. I give it 90%. (08/26/2016)

I don't consider J. Edgar to be the worst Eastwood film, but to make such a below-average spectacle from such an amazing concept and with such an amazing cast is deserving of a few slaps. And when I consider the difference between the result and the ambitions, unfortunately from my point of view, it is Eastwood's biggest directorial failure. Eastwood disappointed me as a storyteller, his direction lacks ideas, and the script is also no masterpiece. When I compare J. Edgar to Il Divo by Paolo Sorrentino, Eastwood embarrassingly fails in the field of biographical films. Maybe it could work as a TV movie, but not as a great story about a great legend of American politics and criminology and the founder of one of the most famous institutions in the USA. Overall impression: 40%. (05/05/2015)

Eastwood’s idiosyncratic depiction of the life of one of the most powerful men of last century. Clear values and clear rules. Both Clint and Edgar stick to firmly traced course of the character development of a proper leading figure, just to get unstuck at the end. The acting performances are wonderful, mainly the could-be old age pensioner Armie Hammer excels and DiCaprio improves the quality of his acting even further. Certain stages in their lives could maybe have been developed better, I mean Dillinger only gets a couple of mentions, but this is a very decent picture. The scene in the Library of Congress library works particularly well. A perfect promotional video for catalog cards. Information is power. (02/16/2012)

J. Edgar is a solid film, one that really leans into authenticity. Leonardo DiCaprio, as usual, delivers a standout performance, bringing J. Edgar Hoover to life so convincingly that you might find yourself wondering if Hoover really was that intense or if it’s just DiCaprio’s talent at work. The movie’s biggest hurdle, though, is that it’s not exactly an easy watch. You need to pay close attention to every scene to fully grasp the evolving narrative, and that can be tricky at times because, frankly, the pacing does drag in parts. Another challenge is that Hoover himself is a polarizing figure—his relentless ambition makes him both fascinating and monstrous, which might not sit well with everyone. But what’s admirable is that the film doesn’t try to sugarcoat or seek to charm its audience. Clint Eastwood clearly aimed to create an accurate portrayal of the rise of the FBI and the complex man behind it, and in that regard, he succeeded. (04/09/2012)

Eastwood's J. Edgar reminds me of Spielberg's Lincoln in a lot of ways. Apart from the direction, which is polished to perfection mainly by the camera, its washed-out colors, the gloomy darkness (every intrusion of sharp daylight is unexpected and somehow inappropriate)... And above all the way the story of the main hero is told. Or is hero the right word? It is probably well known to all that the situation around Hoover was complicated. Still, I was surprised at how much of the controversial chapters of his life Eastwood was able to show without in any way justifying Hoover or making him out to be a saint. This is exactly the kind of documentary-style feature film I like. Fiction, discharged by Hoover himself, alternates between known facts so skillfully that you can't tell what is what, and it's up to you to make sense of this dramatic, but still very sensitive and at the same time poignant theatre. I have no complaints about the actors, Leonardo DiCaprio looked convincing even under the layer of retirement latex, while Armie Hammer's make-up artist didn't do that good of a realistic job, but I still bow down to them. (03/02/2013)