It's a lovely movie, and definitely a major crowdpleaser in the vein of The Help. I actually saw this on the day John Glenn died which made the whole storyline all the more poignant as he's a major character in the film. It runs a little too long and hits familiar beats for this sort of thing, but the story is fascinating and powerful and all the leads give strong performances. Taraji P. Henson is fantastic and her big scene (the whole scene after Costner asks where she's been going) is easily the standout moment of the movie. Octavia Spencer is wonderful as well and Janelle Monae is incredibly charming. The three of them have a very natural chemistry and I really bought their relationship as friends. Kevin Costner is also great in a subdued performance and Kirsten Dunst and Jim Parsons are fine in smaller roles (I wish they had given Kirsten's character more to do though, it's basically a much more subdued version of Bryce Dallas Howard's character in The Help). Mahershala Ali is good but underused as Henson's love interest, and Glen Powell is incredibly charming as John Glenn. This should do very well over the holiday season and I think does a great job of tackling major social issues that are still prevalent in today's society in a way that's still entertaining. The ending is incredibly uplifting. A-

the textbook definition of a libs movie

Loved the story and the actors.

Grade A

A heartwarming, inspiring delight. It follows the formula nearly to a T, but that doesn't bother me when the story is told so well. Superb acting all around, especially the three main ladies. I wish Taraji was getting more attention because she's wonderful here. Octavia Spencer and Janelle Monae are also warm and dynamic, each bringing different qualities of note to their characters. A-

Janelle Monae is such a babe, wow.

Really enjoyable film.

Hidden Figures is pretty darn good! The three actresses are awesome, the art direction is spot-on, the director plays emotional beats like a Stradivarius. The one rough spot is a weak sense of weaving the three storylines into the critical mass needed to make the whole movie sustain its own orbit. Plus the villains (Kirsten Dunst and Jim Parsons) were woefully flat charicatures. It's an admirable attempt to tell a neglected corner of history, but I really expected more from St. Vincent director Theodore Melfi. *B+*

This was a really enjoyable film. I wasn't expecting much, but I came out pleasantly surprised. It definitely hits all the right, familiar beats, but Taraji, Spencer and Monae are fantastic in this and all have great chemistry. Kevin Costner is used perfectly as well eventhough it's a role he could play in his sleep.

Yes she is love her

This was surprisingly a great film, I expected an entirely white guilt kind of movie and while there were traces of that this was more of an underdog story. The parts where the three leads shine are done so wonderfully that it brings a sense of comforting warmth to the film. The non-believers in the film are never really given much to work with or we never see transformation that is organic, the personal lives of the leads are not a good enough distraction from the heavy stuffs here.

7/10

This is a very fun and completely crowd-pleasing film. Reminded me so much of The Help. Which is not a bad thing. All three leads are great but I really enjoyed Janelle Monáe the most even though Henson gave the best performance. Glen Powell was very likeable too and I almost wish he were in it a bit more.

9/10 (A-)

I enjoyed it a lot. It is a soundly constructed, easily digestible, hard-to-resist bit of historical uplift with tremendous performances from the entire ensemble cast, particularly Janelle Monáe and Kevin Costner.

Eh, The Help was better. It was too long for one. And it did seem there was a ridiculous amount of shots of Taraji running different places in her heels. She was really good in the movie, wish she had been nominated. Spencer was great, but she was easily weaker than both Henson and Monae. Dunst played a good bitch, and Costner was great. Parsons was okay, but still hard to separate him from The Big Bang Theory. It's a good crowd pleaser, but nothing too special.

B

I very much enjoyed this.

A-

Yeah.

It's a pretty sizable plot point to the film and gives Costner his white savior moment.

It's fine. If you want to see a film which mostly consists of scenes where a black person enters a room and all the white folk turn around in silent shock, this is right up your alley. It literally happens from start to finish. It's also a very one-sided film that essentially claims that one black woman is solely responsible for everything at NASA which led to the USA reaching The Moon in 1969, and it also shows all white men at NASA as basically idiots who couldn't organise a piss up in a brewery. Seriously, every scene with a white person is unbearable. Don't get me wrong ... I think the idea of schooling "Sheldon" scene after scene is hilarious and necessary, and I admire the idea of flying the flag for the perennially unheard and underappreciated, especially with regards to past events, but this is re-telling is absolute bullshit. It does not aspire to correct history, it wishes to rewrite it with a modern pro-black sentiment in order to con liberal morons out of their money (which it did very handsomely).

What's good? Well, I was much more interested in these women's personal lives. The best scene in the film is the proposal. Such an endearing scene, and it's all-black. Every scene featuring Mahershala Ali instantly piqued my interest in the story again. As a Costnerite, I enjoyed every scene Kevin Costner is in, and Janelle Monáe too. She's a damn fine beautiful person. But this film should never have been included as one of nine of the best films of the 2016, and it wouldn't have if we weren't in the era of white guilt and jizzing over literally anything that paints blacks in a positive light. Such a shame that we feel the need to manufacture being impressed because of the mistakes of generations gone.