Surely there are a few HE regulars who’ve seen Sian Heder‘s CODA (Apple TV+) over the last couple of days, and are willing to be honest and modify the enthusiasm levels a bit. The critics have gone apeshit for this film, and yet as agreeable and nicely handled as it is, CODA is not my idea of a a 96% Rotten Tomato score. The Metacritic community has given it a more appropriate 75% score.

As far as it goes, CODA is a pleasing, well-made family drama. There’s nothing wrong with this kind of film. It’s just not triple-A level, and that’s not a putdown — it’s merely a qualification.

Peter Rainer: “As effective as it is — and it is an effective tearjerker — it does go down the checklist of things to push your buttons on. It’s almost like a really well-designed Broadway show.”

The Telegraph‘s Tim Robey: “Sian Heder’s film [reduces] far too many of the family dynamics to the level of a bickering sitcom. The film is also obsessed to a fatuous degree with how much hilariously loud and vigorous sex her parents have. The film is way too busy playing things cute.”

CODA especially suffers because of its release four months after Darius Marder’s tremendous Sound of Metal, a genuinely adventurous, formally experimental take on deaf issues which was also directed, written by and principally starred hearing individuals.”