‘Prima Facie’ Review: Cynthia Erivo Brings Conviction, but Not Necessarily a Conviction, to an Impassioned but Clunky Legal Drama

‘Prima Facie’ Review: Cynthia Erivo Brings Conviction, but Not Necessarily a Conviction, to an Impassioned but Clunky Legal Drama hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 13, 2026 7:18am PT ‘Prima Facie’ Review: Cynthia Erivo Brings Conviction, but Not Necessarily a Conviction, to an Impassioned but Clunky Legal Drama The star inherits Jodie Comer’s Tony-winning role as a successful barrister turned plaintiff in a sexual assault case, but Susanna White’s film of the stage hit falls a bit flat. By Guy Lodge Plus Icon Guy Lodge Film Critic @guylodge Latest ‘Heartland’ Review: Jessica Chastain Rocks a Stetson and a Swagger for a Soapy Nashville Noir 7 hours ago Remembering Sebastián Lelio, an Auteur Who Centered Women’s Stories With Style and Sensitivity 5 days ago ‘Jimmy’ Review: Cornball James Stewart Biopic Gets the Manner, but Not the Man 7 days ago See All Add us as a Google Preferred Source Comments When a successful stage play is transferred to the screen, the typical concern is how much to “open it out” for the new medium: too little, and you wonder why they bothered; too much, and you lose the electric intimacy that galvanized audiences in the first place.

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It’s to the credit of “ Prima Facie ,” director Susanna White ’s earnestly impassioned film of Australian playwright Suzie Miller’s recent West End and Broadway hit, that anyone unacquainted with the material would hardly guess that it originated as a one-woman show. Set in the lofty, intricately hierarchical world of London law, it feels convincingly populated, with a clear, embedded sense of place; it moves at a decent clip, only giving into stagy speechifying in the final stretch.

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Related Stories Lula’s Election Win: How Fan Accounts for Taylor Swift, Billie Eilish and More Helped Him to a Historic Victory and Defeat for Trump First Performers Announced for CMA Awards Include Ella Langley, Kacey Musgraves, Miranda Lambert and Red Clay Strays And the subject matter still grabs you by the collar: Reflecting on the shattering psychological impact of rape, and the long odds of bringing perpetrators to justice even from within the legal system, it lands in U.K. cinemas this week at a particularly timely moment — as the high-profile conviction of Russell Brand marks an all-too-rare victory for sexual assault survivors.

It’s just a shame it isn’t a better movie. Miller’s adaptation of her own play runs hot and cold, as splitting the source’s theatrical stream-of-consciousness flow into dialogue and running interior monologue yields mixed rewards.

There’s some awfully heavy-handed writing here, but elsewhere the script is intelligently conceived — the contrast between inner and outer voices defines the dual consciousness and everyday code-switching of protagonist Tessa Ensler, a working-class Black woman and Cambridge-educated barrister defying her lack of born privilege to swiftly rise through the ranks. And Cynthia Erivo , inheriting a virtuoso role that won Jodie Comer a Tony and an Olivier, does a creditable job with it — most powerfully in the film’s middle stretch, which offers a raw-nerved, pain-racked study of PTSD in the immediate aftermath of sexual assault.

What scuppers proceedings, however, is White’s stiff, literal-minded direction, which too frequently cheapens the writing with aggressively on-the-nose imagery, while rhythmically and aesthetically, the filmmaking tends toward the flatly televisual. Alarm bells sound as early as the opening shot, which tracks the glittery black sneakers on Tessa’s feet as she heads to court, the skittering hip-hop beat of Ciara and Missy Elliot’s track “Move” filling the soundtrack via her personal h

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