75
Metascore
9 reviews · Provided by Metacritic.com
- 90Film ThreatBradley GibsonFilm ThreatBradley GibsonFriedkin gives us a master class on the creative process of film and a set of expertly told war stories that thrill and inform. It just doesn’t get better than this.
- 83The PlaylistAsher LubertoThe PlaylistAsher LubertoWhile talking-heady and occasionally self-aggrandizing, Leap Of Faith, still inspires deep respect for Friedkin as the bright and brilliant artist he is. Flaws and all, the filmmaker is a person who commands your attention whether he is sitting in front of, or behind, the camera.
- 80SlashfilmRafael MotamayorSlashfilmRafael MotamayorAlexandre O. Philippe continues to impress by challenging what we knew of making-of documentaries with a poetic and lyrical film that’s as entertaining as its subject is eloquent, and a fascinating and thought-provoking as the horror classic that the documentary explores.
- 78Austin ChronicleRichard WhittakerAustin ChronicleRichard WhittakerAt some levels, there is nothing new here: Everyone knows about the casting clashes, the abandoned score, and even Friedkin's take on it all. But it's the immediacy that comes from Alexandre O. Philippe's decision to leave everything to Friedkin that makes its so important.
- 75The Film StageRory O'ConnorThe Film StageRory O'ConnorThe director’s charms and gamely energy make foreknowledge something of a moot point here. The passion has clearly remained, most keenly pronounced in the moments when the octogenarian reveals his own influences.
- 75Movie NationRoger MooreMovie NationRoger MooreOn celluloid or in person, Billy Friedkin’s still a great storyteller.
- 75RogerEbert.comGlenn KennyRogerEbert.comGlenn KennyThis is Friedkin on the movie. And what he does have to say, after all this time and so many articles and movies touching on “The Exorcist,” is still engaging, fascinating, and entertaining.
- 70The Hollywood ReporterStephen DaltonThe Hollywood ReporterStephen DaltonLeap of Faith is an easy, entertaining watch, but it feels like a smaller film than its two predecessors, chiefly because it features just a single long interview with Friedkin rather than a rich chorus of insider insights.