As is becoming the norm with Soderbergh, Che ends up affirming only its conceptual novelty. Just as The Good German drowned its revisionist portrait of postwar Berlin in ironic pomo studio-era style, and just as Bubble condescended to its nonprofessional actors by merely pretending minimalism, so does Che fail its subject by second-guessing aesthetics, reducing Guevara's exploits to a diagram so that the man can fit into the limited range of its director's latest exercise.
Michael Joshua Rowin
December 10, 2008