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Absence of Malice

Absence of Malice

Drama · Romance · Crime · 1981

Megan Carter is a reporter duped into running an untrue story on Michael Gallagher, a suspected racketeer. He has an alibi for the time his crime was allegedly committed—but it involves an innocent party. When he tells Carter the truth and the newspaper runs it, tragedy follows, forcing Carter to face up to the responsibilities of her job when she is confronted by Gallagher.

Movie details

Absence of Malice

“In America can a man be guilty until proven innocent?”

1981 Drama · Romance · Crime 1h 56m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

Megan Carter is a reporter duped into running an untrue story on Michael Gallagher, a suspected racketeer. He has an alibi for the time his crime was allegedly committed—but it involves an innocent party. When he tells Carter the truth and the newspaper runs it, tragedy follows, forcing Carter to face up to the responsibilities of her job when she is confronted by Gallagher.

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 Absence of Malice?

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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Names above the title

The people responsible.

Directed by

Sydney Pollack

Written by

Kurt Luedtke

Sally Field

Sally Field

Megan Carter

Paul Newman

Paul Newman

Michael Colin Gallagher

Bob Balaban

Bob Balaban

Elliott Rosen

Melinda Dillon

Melinda Dillon

Teresa Perrone

Luther Adler

Luther Adler

Santos Malderone

Barry Primus

Barry Primus

Robert Waddell

Josef Sommer

Josef Sommer

McAdam

Court is in session

Put Absence of Malice on trial.

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

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.