All the Light We Cannot See

The core malfunction of "All the Light We Cannot See" seems to lie in Messrs. Knight and Levy, with the collaboration of their cast, having made a story populated not by people of the 1940s, but by people from a movie of the 1940s. That would make some sense, while not, in this case, being a compliment.

Nothing about this final product suggests that Levy or Knight was the right choice to bring this story to the screen. Their vision for Doerr's novel is shallow, messy, and, most unfortunately, instantly forgettable.

Atrocious, a poorly constructed, ham-fisted, manipulative adaptation that drains the source material of all of its inherent power in favor of obvious dialogue, blunt characterizations, and genuinely horrible filmmaking. .... The standout of “All the Light We Cannot See” by some stretch (and the only reason to watch it at all) is newcomer Aria Mia Loberti as Marie-Laure LeBlance.

Anthony Doerr's Pulitzer Prize-winning novel of wartime courage under fire has been turned into a botch job of epic proportions, a shockingly shallow drama series that dims the light of everyone involved in its misbegotten creation.

[All the Light We Cannot See] isn’t just inferior to the book; it’s a schmaltzy, incompetent, borderline offensive mess whose mere existence tarnishes the book’s legacy.