Tribeca Review: The Revisionist is a Comedy of Manners That Becomes Complicated.

      Alex Vlack’s *The Revisionist* possesses all the characteristics of an excellent comedy of manners before shifting to something that is clearly anticipated from the film’s opening scenes. Having this context might lend a bit more weight upon a second viewing, but it remains disappointing that the film didn’t adhere to what could have been an invigorating satirical character study had it taken a more straightforward approach. This is a rare instance where a bold choice detracts from what could have been something exceptional, had it unfolded in a less complicated and more traditional manner.

      Elise (Alison Brie) plays a novelist-turned-academic who ends up coaching her husband Jacob (Tom Sturridge)—an advertising executive-turned-biographer—as he endeavors to write about his father David (Dustin Hoffman). David is a renowned storyteller who is reluctant to share his tales with his son. He feels more at ease with John (André Holland), the charismatic ex-lover of Elise and Jacob’s best friend. John arrives so perfectly timed that it’s surprising his last name isn’t MacGuffin. After years of pursuing his own adventures away from their college town, John returns without a job or a plan, yet somehow manages to charm everyone.

      This is where *The Revisionist*—premiering at a festival filled with documentaries that are not only sanctioned by the celebrities they portray but also produced by their teams—could have cleverly explored the notion of the “authorized” biography. Jacob promises his publisher access that David is unwilling to provide. Instead, John agrees to record David’s stories once they start spending time together, delivering those recordings to Jacob until John is presented with an irresistible opportunity from his past.

      Meanwhile, Elise invites John to guest lecture at the college, where he dispenses wisdom to a class of aspiring students and assists a student struggling to develop a mid-story arc. John appears to have a positive impact on everyone he meets, even inspiring a receptionist at *The New Yorker* to persevere despite having seemingly distanced himself from his friends and the literary world for at least 15 years.

      While specific scenes—particularly those involving David and John—outshine the main storyline of Jacob and Elise attempting to articulate their perspectives, what seems like a critical flaw in the moment is actually intentional in Vlack's script. Transitioning from the realm of nonfiction and museum exhibitions to feature film, Vlack is well-acquainted with colorful, engaging characters whose stories are worth telling. There are moments that provide smart and insightful commentary on the creative process, even if the plot meanders as Elise seeks David's counsel on navigating ethical boundaries before ultimately seducing the willing John. If John and David’s friendship appears implausible and contrived… well, that is by design.

      Ultimately, *The Revisionist* is a film about the control inherent in the creative process, filled with individual moments that spark intriguing possibilities the film does not entirely realize. It leans on predictable plot twists that ultimately imply a hurried first draft—which, once more, is intentional. This aspect of the creative process may indeed be the least compelling: the early drafts that typically sit on a laptop until they are completely developed.

      Had Vlack adhered to the original satirical premise, it might have succeeded remarkably. All the components, including a stellar cast, are present for a clever comedy of manners about a brilliant man who harbors resentment toward his unremarkable son and prefers to have his story narrated by a charming individual who understands him. Instead, the creative process is showcased in a manner that feels more laborious than innovative as Elise engages in her own form of wish fulfillment while navigating ethical dilemmas. Once I discerned the direction it was headed, my interest began to wane. This is unfortunate because *The Revisionist* shines brightest when it focuses on David’s sphere—a legend who knows everyone, enjoys sleeping late, and offers a Negroni at 11:00 AM. The creatives surrounding him are rather mundane, even if they lead nearly perfect lives; perhaps the message is that some academics can become disconnected while pursuing authenticity in the least authentic manner possible.

      *The Revisionist* premiered at the 2026 Tribeca Festival.