76
Metascore
13 reviews · Provided by Metacritic.com
- 90Vanity FairCassie da CostaVanity FairCassie da CostaAll Light, Everywhere is a tremendous work that anyone merely curious about the various relationships the government has to both private industry and an enormous public ought to see.
- 89Austin ChronicleJosh KupeckiAustin ChronicleJosh KupeckiAll Light, Everywhere’s roaming tangents always return to the heart (or the eye) of the matter, and that skill of orchestration is no mean feat.
- 88Slant MagazineChuck BowenSlant MagazineChuck BowenTheo Anthony’s film is a playful, enraging, free-associative cine-essay that both expands and eats itself alive as it proceeds.
- 80Los Angeles TimesJustin ChangLos Angeles TimesJustin ChangIf perception has its limitations, this deeply sobering, stimulating film suggests, that may be another way of saying that it is fundamentally limitless. There is so much — too much — to see here, and no end of vantages from which to see it.
- 75The Associated PressJake CoyleThe Associated PressJake CoyleIt’s an exploration that touches not just on policing and justice, but astronomy, politics, phrenology and race.
- 75RogerEbert.comMatt Zoller SeitzRogerEbert.comMatt Zoller SeitzIt's to the credit of Anthony, who wrote and edited as well as directed, and his cinematographer Corey Hughes, that you come away thinking about parts of the film that felt like cut-able digressions and undergraduate musings when you were watching them.
- 75LarsenOnFilmJosh LarsenLarsenOnFilmJosh LarsenAll Light, Everywhere is very smart and extremely meta (Anthony often films himself and his crew setting up a shot, to emphasize the observational point), though it can be a bit dry.
- 70The New York TimesA.O. ScottThe New York TimesA.O. ScottIn a manner that is patient — and sometimes even playful — rather than polemical, “All Light, Everywhere” contributes to debates about crime, policing, racism and accountability.
- 67The A.V. ClubLawrence GarciaThe A.V. ClubLawrence GarciaAll Light, Everywhere is about both making and questioning connections, but by the end, its methods feel not so much productively protean as frustratingly noncommittal.
- 60Anthony—whose previous documentary, Rat Film, traced the history of Baltimore via the city’s relationship to its rodent residents—has fashioned a thoughtful, if sometimes frustrating, meditation on the acts of “seeing” and “interpreting,” particularly as they apply to law enforcement and the criminal-justice system.