Film Journal International
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Critic Rating:
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2
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By Maria Garcia
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Feb 25, 2011
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The result is an infomercial rather than a film.
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Village Voice
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Critic Rating:
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2
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By Akiva Gottlieb
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Feb 25, 2011
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As cinema, this is standard, on-the-nose PBS fluff, but it's the grade school principal's perfect guilt inducement tool for slackers who arrive late to class.
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New York Times
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Critic Rating:
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6
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By Dana Stevens
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Feb 25, 2011
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This earnest, unsentimental documentary describes the lot of the 246 million children for whom, as the narrator Meryl Streep says in the prologue, 'life is nothing but work.'
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Newsday
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Critic Rating:
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6
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By Gene Seymour
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Feb 25, 2011
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When a movie like Stolen Childhoods feels it has to almost beat you senseless by proclaiming 'Children are our future' or similar platitudes, you wonder how and why such shouting became necessary.
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New York Post
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Critic Rating:
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6
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By Lou Lumenick
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Feb 25, 2011
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It remains for a tougher documentary to more forcefully trace exactly who benefits from this shameful practice -- multinational corporations and consumers who don't ask enough questions.
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Variety
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Critic Rating:
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2
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By Ronnie Scheib
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Feb 25, 2011
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In its reliance on emotionally loaded voiceover and its disconcertingly direct appeals for support, Len Morris' old-fashioned docu seems more designed for fund-raising pitches than theatrical release.
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New York Daily News
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Critic Rating:
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6
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By Jack Mathews
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Feb 25, 2011
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Meryl Streep narrates this global update on child-labor abuses with all the enthusiasm and alarm of someone reading 'The Pet Goat' to a classroom of second-graders.
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Los Angeles Times
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Critic Rating:
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7
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By Kevin Crust
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Feb 25, 2011
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Narrated by Meryl Streep, the film thoughtfully lays out the facts while highlighting various programs that aim to eliminate economic incentives to exploit children, and to return them to their families, enabling them to go to school.
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Boston Globe
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Critic Rating:
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6
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By Wesley Morris
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Feb 25, 2011
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A dispiriting public service announcement.
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Hollywood Reporter
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Critic Rating:
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2
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By Frank Scheck
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Feb 25, 2011
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Well meaning but less than riveting in its execution, this documentary is far better suited for public television exposure than theatrical release.
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