Reseñas de la crítica

Beatty not only delivered a surprisingly literate and politically engaged film, he also crafted a romance for the ages.

If the current rise of Donald Trump—whose inflammatory, xenophobic anti-immigration rhetoric seems to strike a chord in a large number of Americans—suggests anything, it's that a film like Reds may be as unfashionable and necessary now as it was in 1981.

Reds is an impressive film in many respects, long and spacious and intelligent. There was certainly nothing wrong with Beatty's eye for talent and collaborators. Vittorio Storaro's photography... is superb, clear and sharp, yet expressive, capturing a sense of period without excessive artifice. Yet, Reds is built around a curious series of contradictions and limitations that hamper its impact, the most overt of which is a gap between method and subject.

By insisting throughout on the fusion of the personal with the political, REDS postulates as a fundamental aspect of its seductive appeal that spectators perform something of the same synthesis, within the terms of their own psychological, sexual, and political chemistries — forging their own personal links and private bridges between the recent 1960s and the remote 1910s.