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Reviews provided by RottenTomatoes
Roger Moore, Orlando Sentinel: A first-rate one-woman-against-the-system drama, a film benefiting from grim recreations of an ugly reality and a stellar cast determined to expose it. Read more
Tom Long, Detroit News: Powerful and revolting, The Whistleblower makes you feel as if it could have been even more powerful and revolting. Read more
David Germain, Associated Press: "The Whistleblower" is a one-note affair that offers glimpses of the rich, broad life Bolkovac clearly lives but deifies her into someone inaccessible and unbelievable. Read more
Owen Gleiberman, Entertainment Weekly: Rarely has a movie captured the obscene violence of sex trafficking with such unvarnished grubbiness. In the end, though, The Whistleblower is a corporate thriller. Read more
Stephen Holden, New York Times: "The Whistleblower" has a choppy, fumbling screenplay (by Ms. Kondracki and Eilis Kirwan) that lurches between shrill editorializing and vagueness while sorting through more characters than it can comfortably handle or even readily identify. Read more
Sam Adams, Time Out: Our heroine plods doggedly through her frequently stymied investigation, and The Whistleblower follows suit, trudging forward one encumbered step at a time. Read more
Joe Morgenstern, Wall Street Journal: Clumsily didactic and flat. Read more
Tom Keogh, Seattle Times: Part thriller and part harrowing account of an outrageous, based-on-facts story of official corruption in the former Yugoslavia, "The Whistleblower" is a tense and shattering drama. Read more
Alison Willmore, AV Club: Kondracki offers a glimpse of a monstrous world -- made worse because some of the monsters in it were sent there to protect people -- but doesn't suggest any nuanced understanding of it. Read more
Richard Nilsen, Arizona Republic: You come away from watching the film with a moral bellyache. Read more
Loren King, Boston Globe: "The Whistleblower'' effectively depicts the paranoia that builds as an increasingly frustrated and outraged Bolkovac is thwarted at every turn. Read more
Ben Sachs, Chicago Reader: Larysa Kondracki's first feature successfully avoids the major pitfalls of the activist docudrama: the main character's heroism never overshadows the larger issue at hand, nor does exposition gum up the storytelling. Read more
Tom Charity, CNN.com: It's a little sluggish in the first act perhaps, and not as slick as some, but it's still more authentic than most, and angrier, too. Read more
Peter Rainer, Christian Science Monitor: The Whistleblower is frustratingly uneven, but at least it affords us the rare opportunity these days to meet up with a movie hero who isn't wearing jammies and a cape. Read more
Michael Rechtshaffen, Hollywood Reporter: Although the Canada-Germany co-production from first-time feature director Larysa Kondracki isn't as gripping as it could have been, that's no fault of Weisz's: She gives a bracing, wholly connected performance. Read more
Mark Olsen, Los Angeles Times: Too well-intentioned for its own good. Read more
Rene Rodriguez, Miami Herald: In Weisz's eyes, we see Kathryn's transformation from a public servant doing what's expected of her to a crusader driven to by her own conscience. Her performance is terrific; the movie, sadly, is not. Read more
John Anderson, Newsday: Director Larysa Kondracki's debut film is unsparing in its portrayal of sexual trafficking in a supposedly civilized world. But it's valiant, too -- especially regarding Rachel Weisz's performance as reluctant crusader Kathryn Bolkovac. Read more
Stephen Whitty, Newark Star-Ledger: That you leave the film with nagging doubts and questions is not a problem. That you leave it with a sense of disappointment, however, is. Read more
Bob Mondello, NPR: It's a thriller sobering enough in its graphic portrayal of forced violence against women that it would be tough to watch if not for the controlled fury Weisz brings to her performance as a down-to-earth avenging angel. Read more
Joe Neumaier, New York Daily News: Director Larysa Kondracki's fictionalized account of a true story is underserved by a melodramatic script; the result is like a film of a "60 Minutes" segment. Read more
Kyle Smith, New York Post: A pointless drama that trafficks in cliche. Read more
Rex Reed, New York Observer: The Whistleblower is a grisly, authentic, meticulously researched, pulse-quickening political chiller about a hot-button topic that will keep you on the edge of your seat from start to finish. Read more
Carrie Rickey, Philadelphia Inquirer: Derives its strength from Rachel Weisz's intelligent performance as the real-life Bolkovac. Read more
Roger Ebert, Chicago Sun-Times: These cases rarely seem to result in change, and the stories continue. We can only guess what may be going unreported. "The Whistleblower" offers chilling evidence of why that seems to be so. Read more
Peter Travers, Rolling Stone: The film swings from melodrama to sermonizing, both blunting the human drama that needs to come to the fore. Weisz holds the ground in a performance of ferocity and feeling. Read more
Mick LaSalle, San Francisco Chronicle: Gradually, as her investigation deepens, and we see the true hideousness of what she is uncovering, the movie achieves urgency and clarity of purpose. Read more
Colin Covert, Minneapolis Star Tribune: Somewhere inside this movie is a thought-provoking thriller about the collateral damage caused by geopolitical do-gooders. Too bad it never emerges. Read more
Joe Williams, St. Louis Post-Dispatch: If this well-meaning melodrama contains a call to action, it's as quiet as a dog whistle. Read more
Jennie Punter, Globe and Mail: In Canadian director Larysa Kondracki's gripping based-on-a-true-story debut feature The Whistleblower, Rachel Weisz delivers a subtle yet riveting performance. Read more
Mary F. Pols, TIME Magazine: Weisz is a dazzling woman, but her beauty is barely noticeable in this role; her character's integrity and her mounting anger grab all the attention. Read more
Bruce Demara, Toronto Star: It reminds us that there are those, in war or in peace, who will always seek to degrade and exploit, with a precious few others to speak out against injustice. Read more
Rob Nelson, Village Voice: Late-reel scenes of suspense involving the heinously victimized Ukrainians fall somewhere along the line between shocking reportage and standard-issue torture porn. Read more
Michael O'Sullivan, Washington Post: A classic example of a film that doesn't trust the strength of its source material - or the intelligence of its audience. Read more