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Tucker: The Man and His Dream Review

Other Critics provided by Metacritic.com

Critics scores range from 0 to 100, with higher scores indicating more favorable reviews.

  • 4.0
    74

    out of 100

    Metascore®
    Generally favorable reviews
    based on a weighted average of all
    critic review scores.

  • 100

    out of 100

    USA Today Mike Clark

    Tucker is the best Capra movie since Capra quit making them himself. [12 Aug 1988]

  • 63

    out of 100

    Chicago Sun-Times Roger Ebert

    Coppola's new film is not so much about the car as about the man, and it is with the man that he fails to deliver.

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  • 75

    out of 100

    Chicago Tribune Dave Kehr

    The late '40s world Coppola has put together for Tucker is an extremely stylized one: Vittorio Storaro's cinematography has the bright, hard, almost lacquered look of old Technicolor; Dean Tavoularis' sets, built with slanting floors and surfaces, create an imaginary, compacted space in which actors and objects seem to be thrusting out toward the camera; and the transitions between scenes, based on visual rhymes and elaborate wipes, effectively remove the movie from the orderly flow of normal film time. [12 Aug 1988]

  • 80

    out of 100

    Los Angeles Times Sheila Benson

    Stylistically, the film is a dream. But in every case, the style has a reason. [12 Aug 1988]

  • 80

    out of 100

    Time Richard Schickel

    The result is a film consistent narratively, confident stylistically and abounce with the quaint quality that animated both the hero and his times, something we used to call pep.

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  • See all Tucker: The Man and His Dream reviews at Metacritic.com

For Families provided by Common Sense Media

OK for kids 10+

Smoke-filled, rousing dramedy about corruption.

What Parents Need to Know

Parents need to know that while this movie is set in the 1940s and 1950s, there's considerable drinking, smoking, and swearing. There's also some kissing. Expect discrimination typical of the era: Abe calls Preston's partner a "Jap," and Preston says Jimmy's family is all in a relocation camp. Characters also use the phrase "New Yorker" to mean "Jewish" when speaking of Abe. And Bennington calls Vera "the little woman" in a belittling way. Also, some images of people killed in car accidents and bloodied may be too much for younger or more sensitive viewers.

  • Families can talk about the kind of work it takes to pursue a dream. Was Tucker a dreamer, a businessman, or an inventor? He did research, he worked with engineers, and he was a great salesman. Do you have to be all those things to start a new company? Do you have to lie?

The good stuff
  • message true0

    Messages: Someone calls a Japanese man a "Jap" and the way characters use the phrase "New Yorker," it's clear it's a stand-in for "Jew." Characters demean women, calling Vera "the little woman." Reference to Abe having served a prison sentence.

What to watch for
  • violence false3

    Violence: A car rolls with someone in it (no injuries). Preston shows photos of people killed in car accidents. A woman faints. A fire starts under a car.

  • sex false0

    Sex: Preston and Vera kiss and later make out on a bed (clothes on).

  • language false3

    Language: Some swearing, most notably several uses of the words "damn" and "hell." Also used: "goddammit," "bastards," "son of a bitch," "prick," and "ass."

  • consumerism false0

    Consumerism: Not an issue

  • drugsalcoholtobacco false3

    Drinking, drugs and smoking: Most characters smoke constantly, including Tucker and Vera. Men smoke cigars. Characters drink martinis and champagne. Tucker and other men drink liquor from a bottle.

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