Lovelace

Lovelace isn't a catalyst; it's just another unchallenging fantasy.

By aiming for the audience's sympathy, Lovelace tidies and ultimately silences the star it tries to redeem.

Co-directors Rob Epstein and Jeffrey Friedman corralled a stellar cast that piles on great performances.

Seyfried, with her huge features crowding her small face, looks like Alice in a very strange Wonderland. But whatever possibilities she may have as an actress are eradicated by the filmmakers ...

This is less a film about Linda Boreman than a film about stuff that happened to Linda Boreman.

One thing's for sure: this expos ain't deep.

By the end of the film, the pieces came together well for the most part in terms of the direction, leaving you mostly satisfied.

[Directors Rob Epstein and Jeffrey Friedman's] approach feels a tad static this time round and, perhaps in effort to be tasteful, almost too sterile.

Lovelace is structurally sound, telling the popular Hollywood version of events before re-tracing some of its steps and revealing a glimpse of the violence that went on behind the scenes.

Seyfried is remarkable as Linda, showing the woman's duality of hope and fear, acquiescence and anguish, in sequences that require a multitude of conflicting emotions.