As the face of law enforcement in America for almost 50 years, J. Edgar Hoover was feared and admired, reviled and revered. But behind closed doors, he held secrets that would have destroyed his image, his career and his life.
In the end, J Edgar hedges its bets with a specious final twist that suggests Hoover's biggest sin is that he was economical with the truth when it came to telling his own story. Future cultural historians may be saying the same thing about J Edgar itself.
This subject matter is handled sensitively, and the film is well acted (especially by Leonardo DiCaprio) but overall feels unfocused and lacking the type of authority that made Hoover himself such a formidable figure in American history.
Some will find it ponderous and pompous – it lacks the panache of Michael Mann’s epics, the momentum of Scorsese’s – but J. Edgar is a handsome, ambitious period drama full of modern-day parallels.
Brokeback Bureau? Alas, more like J Edgar Snoozer.
Sadly, such half-assed makeup work epitomises the slapdash nature of this dreary, shallow film.
A well acted but unfocused study of one of the 20th century’s most colourful characters.
This is finely crafted, grown-up filmmaking, well acted by DiCaprio, and with a number of gripping sub-plots.
At times it’s like watching a dull slideshow for an audiobook.
Eastwood's film might want for pep, but his leading man is the very picture of coiled power and simmering fury.
There are interesting moments and interesting scenes here – but this J Edgar becomes a sonorous, History Channel drone.
Earnestly watchable.
Won't Hoover up awards.
J. Edgar feels too guarded and selective.
J. Edgar is a solid consideration of an extraordinary life driven by a bravura performance from DiCaprio.
It’s hard to believe it was written by the man who gave us Milk. As it stands, this is one for historians. And insomniacs.
Eastwood has produced an absorbing portrayal of a lawman who was fascinating and whose fingerprints can still be seen all over American politics and society.
This is an unwieldy yet grown-up film, with some fine performances, but the riddle of Hoover has almost proved too much for it.
Eastwood’s film says more about its director than its subject, and sadly, what it says isn’t flattering.
This muddled melodrama adds up to a missed opportunity.
It's enjoyable, too evenly paced, and much inferior to Larry Cohen's 1977 The Private Files of J. Edgar Hoover.
The flashback-and-forth structure is quite an elegant one, but it eventually results in a film that's fragmentary, overlong and tricky to follow.
This ought to have been an absorbing, prestige production. But hampered by a dreary and unfeasibly sentimental script and dull direction, the result is turgid.
A film of great achievement complimented by a J.S. Bach influenced music score from Eastwood.
J Edgar Hoover and me: how I was spied on by the FBI
The secret life of J Edgar Hoover
J Edgar is a woefully boring movie
In defence of J Edgar Hoover
General release. Check local listings for show times.
Dundee Contemporary Arts, Dundee from Friday February 17, 2012, until Thursday February 23, 2012. More info: www.dca.org.uk
macrobert, Stirling from Saturday February 25, 2012, until Wednesday February 29, 2012. More info: www.macrobert.org
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