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Based on 40 critic reviews provided by
Many critics will complain about emotional manipulation, but I share Roger Ebert’s view: “Some people like to be emotionally manipulated. I do, when it’s done well.” I think “Beauty” does it well.
By the end of Collateral Beauty, you’d have to have a heart of stone for the film not to get to you a bit, but even if it does, you may still feel like you’ve been played.
Audiences who enjoy smiling through tears, and don't mind having their buttons pushed in the most obvious ways, could probably do a lot worse.
If “Collateral” fails to move you — and it might, because I was untouched — it may have to do with the clumsy clockwork machinations of a script that has to make its entire unholy and unethical premise seem “logical” and understandable.
Collateral Beauty never manages to shake off its all-too-deliberate air or willingness to follow the easiest path. Its life lessons are packaged with cloying, overt mawkishness which aren’t quite the feel-good home run Frankel seems to expect.
With the bizarre way Whit and his crew talk about numbers and money, Collateral Beauty is just another story about spoiled rich people.
This horrifyingly yucky, toxically cutesy ensemble dramedy creates a Chernobyl atmosphere of manipulative sentimentality, topped off with an ending which M Night Shyamalan might reject as too ridiculous.
Collateral Beauty is certainly a case of outright sentimental damage, not beauty, but of course the word collateral also means money that can be bargained with, and hopefully that’s what the ill-fated cast of this picture received in some abundance.
Slant Magazine
David Frankel's film argues that the power of miracles can be manufactured by those who can fund them.
Village Voice
Maybe you'll be at a dinner. Maybe nobody will believe you. Or maybe they will, and someone will say, "Hollywood is terrible at making movies about trauma.”

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