The island setting, the modest production, and the humor that often arises from character rather than contrivance work together to keep the film from ever feeling flat. On the flip side, a few feel the pacing is uneven, or that the secondary characters don’t always land. Still, even these criticisms tend to be soft and in the service of a film that is more heartwarming than perfect.
Overall, the consensus sees The Ballad of Wallis Island as a warm, wistful, and soul-soothing film—modest in scope but rich in feeling. It’s not trying to dazzle, but it digs in where it matters: loss, memory, music, human connection. For many, it’s one of the more emotionally satisfying films of 2025.
The Ballad of Wallis Island is a quietly charming British comedy-drama directed by James Griffiths, written by and starring Tom Basden and Tim Key, alongside Carey Mulligan. The story centers on Charles, a lonely lottery winner living on a remote Welsh island, who invites his favorite folk duo—Herb McGwyer and Nell Mortimer—to reunite for a private performance. His motive isn’t just fandom; there are unresolved heartbreaks, nostalgia, and grief behind his idealistic gesture.
Critics are largely enamored with the film’s balance of humor and melancholy. Tim Key’s performance as Charles is praised for being endearingly awkward, verbose, and heart-on-sleeve, often using verbal wit to stave off silence. Basden as Herb, and Mulligan as Nell, deliver subtle, emotionally resonant performances, especially when the old romantic and artistic tensions surface—and you begin to feel what’s been lost, as well as what hope might remain. The original music is another highlight; the songs feel lived in, and the film uses them not as spectacle, but as emotional anchors.
Some reviewers point out that the premise is familiar—a fan’s devotee, reunited artists, romantic regrets—but argue that the execution elevates it.
CRITICS ROUNDUP
Where the film draws critique is in its lack of external perspective: some critics feel there are too few voices beyond those sympathetic to Ardern, which makes the portrait feel less balanced. Others say it occasionally glosses over political controversies or misses deeper analysis of the limits and costs of her policies. Still, even these critics tend to say those gaps don’t undercut the film’s power.
Overall, Prime Minister is regarded as a compelling, humane documentary—an evocative portrait of leadership under pressure, and a reminder of the emotional toll that governing can take. For many viewers, it’s one of the most emotionally resonant political documentaries in recent memory: not perfect, but deeply felt, thoughtful, and timely.
CRITICS ROUNDUP
Personal, empathetic leadership under pressure.
Prime Minister is a documentary that offers a deeply personal look at Jacinda Ardern’s years in office (2017–2023), exploring both her public leadership and private life. Directed by Lindsay Utz and Michelle Walshe, it draws heavily on archival footage, home videos—many recorded by her partner—and public events, portraying Ardern as both a political figure navigating crises and as a person juggling motherhood, public expectations, and grief.
Critics generally respond very favorably. They praise the film for its emotional honesty, especially in moments rarely seen in political docs—Ardern speaking of impostor syndrome, dealing with the demands of leadership while pregnant, and making decisions under immense scrutiny. Many note its strength lies in showing the tension between her values (empathy, kindness, inclusion) and the often brutal realities of politics, whether in response to the Christchurch mosque shootings, the COVID-19 pandemic, or polarized dissent. The editing is frequently complimented for balancing public spectacle with quieter, reflective scenes—this gives the film its intimate rhythm.