The Take 2004

Critics score:
90 / 100

Reviews provided by RottenTomatoes

Stephen Holden, New York Times: A stirring, idealistic documentary that examines the grass-roots cooperative movement in financially devastated Argentina. Read more

Moira MacDonald, Seattle Times: The Take, though clearly partisan, paints a hopeful and at times inspiring picture of possibility, as we see the obvious pride of the workers. Read more

Ty Burr, Boston Globe: Avi Lewis and Naomi Klein's film is antiglobalist advocacy journalism of the most muddled and romanticized stripe, almost dangerously naive in its simplistic presentation of complex political events. Read more

Kevin Thomas, Los Angeles Times: The Take plays 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. Read more

Chris Vognar, Dallas Morning News: Mr. Lewis and Ms. Klein found themselves a subject and a setting rife with drama, and they showed a reporter's dogged verve in entering the thick of the action. Read more

Ernest Hardy, L.A. Weekly: This film puts a pained human face on the cost of the corporate status quo. Read more

Elizabeth Weitzman, New York Daily News: Read more

Roger Ebert, Chicago Sun-Times: A success story? Yes, according to the Movement of Recovered Companies. No, according to the owners and the courts. Read more

Jonathan Curiel, San Francisco Chronicle: A balance of fact and fury. Read more

Geoff Pevere, Toronto Star: Feels considerably less like a charged piece of documentary filmmaking than a long-form current affairs special. Read more

Time Out: Neither slick nor sophisticated, but inspiring nonetheless. Read more

Desson Thomson, Washington Post: It's not the most original documentary ever filmed, shot in routine style. But it's the content that counts. We see very real people in crisis. Read more

Stephen Hunter, Washington Post: It never smirks or condescends as does, say, a Michael Moore; it never seems smug and superior, only committed and compassionate. Read more