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CODA

✭ ✭ ✭ ✭   Read critic reviews

France, USA

2021

1h 52m

Director Siân Heder

Starring Emilia Jones, Marlee Matlin, Troy Kotsur, Eugenio Derbez

Genre Drama, Music, Romance

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Ruby is the only hearing member of a deaf family from Massachusetts. At 17, she works mornings before school to help her parents and brother keep their fishing business afloat. But in joining her high school's choir club, Ruby finds herself drawn to both her duet partner and her newfound passion for singing.

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WHAT ARE CRITICS SAYING?

60

The Guardian by Benjamin Lee

Coda is a mostly likable concoction, but one that’s just too formulaic and ultimately rather calculated to secure the emotional response it so desperately wants by the big finale.
83

The Playlist by Gregory Ellwood

It becomes pretty obvious early on that CODA is one of those movies where you know where the story is going pretty much the entire time, but the elements harmonize so beautifully it still sucks you in.
85

Slashfilm by Hoai-Tran Bui

It’s a crowd-pleaser, to be sure, and a little on the corny side, but it’s so unwavering in its sincerity that it manages to hit all the right notes.
90

The Hollywood Reporter by Jon Frosch

If you're going to make a film that sticks to the playbook, or playbooks, this is how to do it: CODA is a radiant, deeply satisfying heartwarmer that more than embraces formula; it locates the pleasure and pureness in it, reminding us of the comforting, even cathartic, gratifications of a feel-good story well told.
80

Vanity Fair by Katey Rich

Writer/director Sian Heder, with her exceptional cast, remains in full control of the tone even as the story follows every predictable beat. You’ve seen versions of this story before, sure—but this one’s worthy of another spin.
67

The Film Stage by Michael Frank

Coda, even with all of its imperfections, drives home a truckload of emotions in its final act, filled with more silence than noise.
90

Variety by Owen Gleiberman

Siân Heder, who came up as a writer and story editor on “Orange Is the New Black,” has directed just one previous feature (“Tallulah”), but she’s got the gift — the holy essence of how to shape and craft a drama that spins and burbles and flows.
70

Screen Daily by Tim Grierson

Often quite touching and funny, writer-director Sian Heder’s second feature sometimes succumbs to contrivances and crowd-pleasing theatrics, but one can hardly fault her obvious affection for these messy, engaging characters.

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