EW’s Owen Gleiberman says Speilberg’s Lincoln, scripted by Tony Kushner, “is one of the most authentic biographical dramas I’ve ever seen.”
As the title character of Steven Spielberg’s solemnly transfixing Lincoln, Daniel Day-Lewis is tall and elegantly stooped, with thatchy gray-black hair, sunken cheeks, and a grin that tugs at the corners of his mouth whenever he tries to win someone over by telling them a good story (which is often). Day-Lewis looks so much like the photographs of Abraham Lincoln that you don’t have to squint, even a bit, to buy that it’s him. He nails Lincoln’s thousand-yard stare — a gaze directed at once inward (at the whir of his own mental machinery) and outward (at the cosmic hum of history). Day-Lewis’ performance has a beautiful gravitas, yet there’s nothing too severe about it. He gives Lincoln a surprisingly plainspoken, reedy high voice that retains the courtly cadences of the South. That voice — from everything we know, it’s quite accurate — makes Lincoln sound like Will Rogers as a professor of human nature. This Lincoln lives deep inside his own unruly-haired head, yet he loves the people around him, even the ignorant (and racist) common folk, who repay the favor by loving him back. And that’s where he draws his political force.
Lincoln, which Spielberg has directed from a lyrical, ingeniously structured screenplay by Tony Kushner, plugs us into the final months of Lincoln’s presidency with a purity that makes us feel transported as though by time machine. (Kushner is the husband of EW columnist Mark Harris.)