Reviews provided by RottenTomatoes
With nary a glimmer of self-knowledge, [Crane] becomes more specimen than character -- and Auto Focus remains a chilly, clinical lab report.
Watching this cold, detached movie, you never get the sense that Schrader cares one whit about Crane or is even curious about understanding the compulsions that wrecked his marriage and career and eventually cost him his life.
Ebert & Roeper:
You don't have to know anything about Bob Crane, you don't to have ever watched Hogan's Heroes, and you can still appreciate the skill behind this film.
Does strongly benefit from its overall smartness and lucidity, and from two very canny, well-thought-out performances by Kinnear and Dafoe.
Kinnear throws himself into the role, but because he's playing a bad actor who's unaware he's acting, his skill may not always be apparent.
Schrader, I think, has found an approach that suits the skewed cultural history of his material.
Globe and Mail:
How do you make a movie with depth about a man who lacked any? On the evidence before us, the answer is clear: Not easily and, in the end, not well enough.
Dallas Morning News:
It's a provocative, challenging study in denial and one of its star's and its director's all-time bests.
[Kinnear's] marvelously ambiguous and deliciously blank here, lending a slightly sinister cast to every harmless, handsome man he's ever played.
The brave conduit of Schrader's doom-laden moralism is Greg Kinnear, giving one of those revelatory performances that makes everything an actor does prior seem like marking time.
New York Magazine/Vulture:
Schrader really isn't interested in Crane except as the straw man for his moral lessons about sin and sexuality and the nature of celebrity.
New York Observer:
Everything in the movie rises and falls dismally, with little sense even of waste and loss.
A compelling motion picture that illustrates an American tragedy.
[Kinnear's] performance has to be one of the most sympathetic acts of decency one actor has ever extended to another.
[Crane] is played with a touching, eager-to-please obliviousness by Greg Kinnear.
Michael Gerbosi's script is economically packed with telling scenes.
This true-life saga of sex, lies and videotape is one of director Paul Schrader's best films, and like Boogie Nights ranks as a shrewd expose of recent Hollywood's slimy underside.
This sexaholic Lost Weekend is way too punitive -- the celebrity version of Looking For Mr. Goodbar.