Rob Reiner’s film rests on broad, sweeping proclamations about the importance of factual reporting.
The Sinner recedes from a grisly opening into an examination of one woman’s complicated history.
The film seems more interested in its art design then in fully developing the story’s underlying sexual ethics.
So flimsily constructed that it resembles a middle-school play that’s been hastily filmed on an antique camcorder.
What’s missing is any provocative or poignant insights into the “truth” about Emanuel; all we get are vague hints.
If only it was rewritten in a manner different than the Bryan Singer film, well that would have been magic, wouldn’t it?