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Reds

Reds

Drama · History · Romance · 1981

An account of the revolutionary years of the legendary American journalist John Reed, who shared his adventurous professional life with his radical commitment to the socialist revolution in Russia, his dream of spreading its principles among the members of the American working class, and his troubled romantic relationship with the writer Louise Bryant.

Movie details

Reds

“Not since Gone with the Wind has there been a great romantic epic like it!”

1981 Drama · History · Romance 3h 15m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

An account of the revolutionary years of the legendary American journalist John Reed, who shared his adventurous professional life with his radical commitment to the socialist revolution in Russia, his dream of spreading its principles among the members of the American working class, and his troubled romantic relationship with the writer Louise Bryant.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Reds?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Warren Beatty

Written by

Warren Beatty · Trevor Griffiths

Warren Beatty

Warren Beatty

John Reed

Diane Keaton

Diane Keaton

Louise Bryant

Edward Herrmann

Edward Herrmann

Max Eastman

Jerzy Kosiński

Jerzy Kosiński

Grigory Zinoviev

Jack Nicholson

Jack Nicholson

Eugene O'Neill

Paul Sorvino

Paul Sorvino

Louis Fraina

Maureen Stapleton

Maureen Stapleton

Emma Goldman

Court is in session

Put Reds on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.