73
Metascore
10 reviews · Provided by Metacritic.com
- 90The Hollywood ReporterDavid RooneyThe Hollywood ReporterDavid RooneyWith lucidity and deep feeling, Nancy Buirski's documentary maps an ugly trail of injustice and then widens its lens to pay tribute to the women of color whose refusal to be silent helped drive the evolution of the Civil Rights movement.
- 90The New York TimesJeannette CatsoulisThe New York TimesJeannette CatsoulisThe miracle, though, is that the movie isn’t a diatribe. Its voices...are gentle and persuasive, using the horrific details of the rape and its aftermath as ballast to stabilize a heart-wrenching history of systemic injustice.
- 83IndieWireKate ErblandIndieWireKate ErblandThe Rape of Recy Taylor works as both artifact and indictment.
- 83The PlaylistKimber MyersThe PlaylistKimber MyersAs awful as the events of 1944 were for her, there’s ultimately hope in her story in how it fueled a movement and continues to inspire and push people today.
- 80Village VoiceDaphne HowlandVillage VoiceDaphne HowlandThe film is a haunting, damning unpacking of history that also reminds us how little progress we’ve made.
- 70Los Angeles TimesJustin ChangLos Angeles TimesJustin ChangTruths this scalding and plain-spoken need no such embellishment to be heard.
- 70Screen DailyLee MarshallScreen DailyLee MarshallAn enquiry into the brutal rape of a black woman in 1944 Alabama broadens into an alternative, female-gaze civil rights documentary in Nancy Buirski’s latest.
- 60VarietyJessica KiangVarietyJessica KiangTiming alone makes The Rape of Recy Taylor something close to essential viewing. But Buirski’s approach is oddly diffuse, lacking the clarity of rage that has informed so many recent touchpoints in social-issue documentary.
- 58The Film StageJared MobarakThe Film StageJared MobarakWhatever issues I have with the final construction don’t alter the reality that Recy Taylor’s story must be told and seen.
- 50RogerEbert.comMatt Zoller SeitzRogerEbert.comMatt Zoller SeitzThis is all fascinating stuff. But you pretty quickly get the sense that Buirski either doesn't find it interesting enough to let it stand on its own or else is afraid audiences will rebel against too many bare-bones elements.