be seeing the real 'real' Madonna”. Spectrum Cultures Erica Peplin felt that it "humanizes Madonna like nothing else has". Owen Gleiberman from Entertainment Weekly gave it an A- and wrote: "the most daring — and revelatory — aspect of the movie is how candidly it depicts Madonna’s symbiotic relationship with her dancers, almost all of whom are gay. [...] She does more than show us the backstage life of a pop star. With inspiring frankness, she reveals the roots of her style". In 2002, the same publication concluded that "[Madonna] gets the role she was born to play". Writing for The Backlot, Virtel called it "damn rewatchable, [with] legendary concert sequences and nutty celebrity cameos, and simply recalls Madonna at her prime". Similarly, The Guardians Guy Lodge deemed it an "exhilarating snapshot of the star in her godly, don’t-give-a-fuck prime, well before Kabbalah and Guy Ritchie [...] the film’s concert sequences may be its least interesting material almost by design, yet they capture the brazen, cocksure performance presence that – well ahead of her vocal chops, as she herself admits – made her a phenomenon to begin with". David Denby from New York magazine, pointed out that the film "is often lewd, but she's never sexual. [Madonna] offers a public personality that is completely eroticized". Nonetheless, he criticized her for having "virtually, nothing of interest to say [...] because the notion of a private self has long ceased to exist for her [...] She's so much a one-note person that Truth or Dare, for all its skill, is often a little boring". On a more mixed review, Ty Burr from Entertainment Weekly wrote that "even if Truth or Dare is artfully made and entertaining, it’s no less an act for being a good one [...] like everything Madonna has her hand in, the film proclaims style as content". He continued his review: "[Madonna] is so controlling of her public self that when the cameras are whirring she doesn’t know how to do 'realistic'", and criticized the cemetery scene for being "awkward and forced". Writing for Pitchfork, Emma Madden pointed out that "for what should have been a tour documentary, little attention is paid to the world outside of Madonna’s dressing and hotel rooms [...] While most music documentaries today don’t seem to exist for any other purpose than to say, 'wait, this pop star’s a good person, cut them some