Critic Reviews

59

Metascore

Based on 30 critic reviews provided by Metacritic.com
100
A grisly, authentic, meticulously researched, pulse-quickening political chiller about a hot-button topic that will keep you on the edge of your seat from start to finish.
88
For 20 years the news has reported from time to time of crimes alleged by employees of paid defense contractors. These cases rarely seem to result in change, and the stories continue. We can only guess what may be going unreported. The Whistleblower offers chilling evidence of why that seems to be so.
75
Rarely has a movie captured the obscene violence of sex trafficking with such unvarnished grubbiness. In the end, though, The Whistleblower is a corporate thriller.
75
Clumsy and ineffective in its first half hour. But gradually, as her investigation deepens, and we see the true hideousness of what she is uncovering, the movie achieves urgency and clarity of purpose.
75
Larysa Kondracki's impressive debut achieves its aim to shine light on an international human rights issue as well as signaling a new director to watch.
75
There is also a parallel subplot following the fate of two Ukrainian girls caught in the sex-slave ring Kathy targets. This storyline isn't dramatically satisfying, but it does provide context and ensures the victims in this story are not portrayed simply as faces in the dark.
70
Credit Kondracki and Kirwan with having endowed their picture with considerable, if blunt, force. Their filmmaking suits the real-life atrocities they're exposing.
63
The film swings from melodrama to sermonizing, both blunting the human drama that needs to come to the fore.
63
The story, inspired by Bolkovac's experiences in Bosnia and her subsequent book account, is dynamite. Alas, Kondracki's direction fizzles. While she elicits a tense and eloquent performance from Weisz, the first-time filmmaker fails to maintain a consistent tone. Her film samples multiple genres.
40
Director Larysa Kondracki's fictionalized account of a true story is underserved by a melodramatic script; the result is like a film of a "60 Minutes" segment. Still, Weisz is strong and smart. And David Strathairn shows up in is-he-good-or-evil? mode.
30
Ms. Weisz is always a strong presence, but her talents are wasted here on a naive heroine - the fictional Kathy is exceedingly slow to grasp the extent of the corruption - and a narrative style that turns the horror of the prostitutes' plight into harrowing melodrama.

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