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100The more you learn, the more questions you have about life in that Great Neck house. Leo Tolstoy wrote that "every unhappy family is unhappy in its own fashion," but not even he could have invented the Friedmans.
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100A compulsively watchable movie that's also a provocative inquiry into the ability of the criminal-justice system to determine culpability and truth.
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100This remarkable, continually surprising documentary turns out to be something far richer and more complex, closer in spirit to "Crumb," another devastating film about a family's gradual self-destruction.
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100A superb documentary.
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100Not since "Memento" has a movie served up such a provocative mind-bender, and the Sundance winner by first-time filmmaker Andrew Jarecki has the advantage of being true.
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100As the Friedmans split apart like fissile neutrons, their story becomes five stories, none of which is remotely like the others.
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100A spellbinder of the rarest kind and quality. It opens audiences up to an infinite variety of emotional and intellectual nuances.
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100Jarecki's film brilliantly illustrates the fallibility of memory, the slippery nature of 'facts' and even people's invention of events that may never have taken place.
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100By the end of the movie, it’s no longer possible to know anything with certainty -– so convoluted, contradictory, pathological, and long ago have the events become. It’s a movie that will have you talking and thinking for hours.
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100An extraordinary film; it may be the most haunting documentary since ''Crumb.''
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100What's most devastating in Capturing the Friedmans is how Jarecki puts the sureness of justice into doubt as he shows Truth (with a capital T) at the mercy of perspective and perception, context and emotion.
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100A jarring, mesmerizing documentary.
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100Jarecki has created a tour de force of narrative ambiguity, and in doing so has made one of the most honest reality shows ever.
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100To begin your career with a masterpiece is so remarkable a feat that one can only hope Jarecki finds another subject as rich as this family, which was obsessed with itself but needed a filmmaker to begin to see itself at all. [2 June 2003, p. 102]
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90Utterly compelling account of a true-life criminal investigation where "truth" can never be pinned down.
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90Above all else, though, Capturing the Friedmans is a vividly personal, devastating story of a family that was hopelessly compromised years before it was scapegoated for crimes that two of its members may or may not have committed.
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90First-time director Jarecki, better known as the co-founder of MovieFone, skillfully integrates the home-movie footage with his own thorough inquiry, weaving past and present into a patient, deeply engrossing piece of storytelling that's rich in ambiguities.
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90I've seen only a few films in my lifetime that so potently express the golden hopes of childhood and parenthood, as well as the inevitable decimation of that hopefulness -- that forward-looking bliss -- at the hands of catastrophe, or merely age, spite, and exhaustion. Or, as for the Friedmans, all of the above.
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90Mr. Jarecki finds a way to show that denial and hope often grow from the same vine. Lives are built around the way they're harvested -- and this talented director has a feel for the soil.
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90Riveting and so suggestive that you can't consume it passively: You have to brood on it.
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90There's a kind of rawness on the screen that most movies never approach.
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90In the entertainment culture that surrounds us, words like "harrowing," "anguishing," "unfathomable" or "horrifying" don't sell movie tickets. Capturing the Friedmans is all of these things and more.
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90Powerful and haunting.
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88It's a modern horror story that gets you where you live.
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88By the end of Capturing the Friedmans, we have more information, from both inside and outside the family, than we dreamed would be possible. We have many people telling us exactly what happened. And we have no idea of the truth. None.
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88This extraordinary film refracts truth through the prism of memory, until what you get is a tragedy of Shakespearean dimensions, full of sacrifice and betrayal.
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88An unforgettable and complex portrait of a nuclear family in meltdown.
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88Isn't like the classic Japanese drama "Rashomon," which suggested that one person's perspective of an event gave him a different truth from the person standing elsewhere.
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88The film is as powerful as any narrative motion picture in telling a story that rips at the emotions.
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88Jarecki does a remarkable job with this easily exploitable material.
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83More than just a good crime story about the guilt or innocence of Arnold and Jesse Friedman. It's also a fascinating portrait of a seemingly normal middle-class family crumbling before our eyes.
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80Andrew Jarecki could have done more to lay out the marriage of sexual and religious and social hysteria that made cases like this possible. But he deserves credit for having the guts to say, in this case and in so many like it, who suffered the most.
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80Capturing the Friedmans does not end after its credits roll; audiences will try the case over and over again in their heads. Jarecki does not judge, but leaves only tragic clues for us to ponder.
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80It’s like a nightmare that follows you around in daylight: you can’t quite decode it, you can’t shake it, you can’t stop turning it over and over in your mind. This is one queasily powerful movie.
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80A prime candidate for a time capsule, to disclose a century hence the current state of some of our civilization's discontents, including the ability to be convinced that one is telling the truth even when one is lying.
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75In the midst of this emotional train wreck in motion, with angry outbursts and accusations, there are moments of levity, jokes and even a song or two. Strangely, it does not seem irreverent or bizarre but, rather, an expression of affection, as if love is tearing them apart.
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70Never less than gripping.
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70Overmatched by the strange and compelling true story that is its subject, this unfortunate film ends up both more disingenuous than it wants to admit and more awkward than it can easily acknowledge.
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50Jarecki shows off this footage as evidence of a truly dysfunctional family in various stages of denial. What it reveals at least as much is the modern phenomenon of reality-TV self-exposure carried to such lengths that, by comparison, the Osbournes look like the Cleavers.
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User score distribution:
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Positive: 18 out of 22
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Mixed: 0 out of 22
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Negative: 4 out of 22
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RichardH.10