Critic Reviews



Based on 35 critic reviews provided by Metacritic.com
Engrossing, quietly revelatory, and often profoundly moving as it retells a story we only thought we knew.
Parkland is a fascinating insider's view of those fateful two days in November of 1963, when a president was murdered, his assassin was gunned down in custody and generations of conspiracies were born.
The chief virtues of Parkland are journalistic in the best sense.
A sobering, documentary-style film commemorating eyewitness accounts of what happened in the aftermath of the tragedy, some of them fresh as a new wound, all of them painful but vital to a deeper understanding of one of the darkest chapters in American history.
It shouldn't necessarily be the case that a film focusing on the collateral details of the shooting, after the fact, would feel dull and uninvolving, but this writing/directing debut by journalist Peter Landesman does, with the exception of a few particularly interesting revelations.
The events of those days would have been better covered in greater depth in a miniseries, rather than a 90-minute movie.
Parkland mines some interesting scenes, if not in an entirely coherent fashion, resolving as more of an interesting concept than a fully rendered and effective film.
If the film finally doesn't tell us anything we did not already know, the approach makes a worn-out old tragedy feel supple and urgent.
Perhaps it's inevitable that the movie works best not while we're watching fictional recreations, but when we see real footage or hear actual broadcasts.
Awkward, incoherent and plodding.
Sadly, what Parkland becomes is a crying shame.
Granted, Landesman feels an obligation to history, but there's something ponderously obvious about the way so many of these scenes are played.
Oswald's brother Robert, played by James Badge Dale, is the film's only rational human being, and Dale makes you wish Landesman had written the entire film from his angle.
There's a pleasing egalitarianism to the film's history-through-the-eyes-of-the-ordinary-man concept, but the script rarely makes the case that their versions are compelling enough to warrant a film.

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