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100A special film.
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80The filmmakers turn what could have been dry subject matter into compelling, inspirational drama.
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80Plays out like a Frank Capra movie with the "little people" taking on corrupt and indifferent officials. In the process the film strikes a strong blow for the dignity of labor and introduces an array of brave individuals.
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80It never smirks or condescends as does, say, a Michael Moore; it never seems smug and superior, only committed and compassionate.
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75Shot in Argentina, where a prosperous middle-class economy was destroyed during 10 years of IMF policies.
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75Their ultimate success is a classic victory for the little guy.
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As a first-time director, Lewis shows a impressive visual sense -- abandoned factories take on an eerie gorgeousness through his lens.
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70Slick and surprisingly emotional documentary is really a rare, optimistic critique of globalization.
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70This film puts a pained human face on the cost of the corporate status quo.
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70A stirring, idealistic documentary that examines the grass-roots cooperative movement in financially devastated Argentina, raises basic questions about economics, government and human nature.
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70It's also genuinely moving to see disenfranchised individuals discovering self-determination from the hard ground up.
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70Anticapitalist propaganda that persuades and uplifts is in short supply these days.
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60Politically powerful, but filmically flawed.
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60The Take tells a compelling story of courageous, industrious people, but it begs for a second act.
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Combining the common-sense lucidity of Klein's "No Logo" with an undertone of melancholy doggedness, The Take follows its characters through a national election that feels like an antipodean doppelgänger of our own.
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60Makes its points effectively, but could have benefited from a burst of creativity.
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58Ultimately a primer. Without actually putting it in direct terms, it proposes a revolutionary solution, not just in Argentina but everywhere that the corporate culture has failed its workers and their communities.
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25The Take represents the downside of the new documentary renaissance.