The movie was made to persuade, maybe more so than to enthrall and persuade it does, mostly through gestures, reaction shots and music—i.e, through cinematic rather than literary values. When Beckett slow-dances with his IV stand, murmuring about the orchestration of the music playing on his stereo, the scene’s true focus is Washington’s lawyer, Joe Miller. He gazes at Andrew in astonishment, his face lit by firelight, his machismo melting away as his client describes, and then becomes, opera.
Matt Zoller Seitz
April 26, 2017