There wasn’t a weak moment in the film. From Tom’s mother, Sally (Anna Maxwell Martin, as quietly stellar as always), questioning the girlfriend he had in Iraq about the last time they had sex, in a heartbreaking drive to cling on to every last moment andscrap of knowledge about her lost son. To the array of vignetted opinions on the war and Blair that greet Keys and his fellow campaigners on the doorsteps of Sedgefield. To Keys’ speech on election night itself as Blair stood behind him, forced at last to listen to the bereaved instead of soaking up the celebratory applause of Washington. The drama was spliced with real-life footage – Tim Roth as Keys in the foreground, Blair’s real reactions behind – which could have been a mistake but in fact worked beautifully, if only because you search and search Blair’s face in vain for anything deeper than discomfort.
Roth was extraordinary as a man scoured out by grief and left with only a single purpose to pursue. Implacable, purged of all need or desire for lesser considerations or emotions by his loss, he gave us a man and a performance boiled down to its very essence. There is nothing more honestly, nakedly powerful or moving. Thank you.

Lucy Mangan, The Guardian******

McGovern knows where to find the drama in stories of private grief battling institutional indifference. This was a quiet portrait of simmering rage, truth speaking to power, drama duetting with reality... a meticulous autopsy of a vast insult to the British body politic.

Jasper Rees, The Telegraph******