Among the film's few detractors was Roger Ebert of the "Chicago Sun-Times", who described the film's positive reviews as "a matter of political correctness, I think; it is uncool to be against Che Guevara." Ebert also criticized the film's characterization: "seen simply as a film, "The Motorcycle Diaries" is attenuated and tedious. We understand that Ernesto and Alberto are friends, but that's about all we find out about them; they develop none of the complexities of other on-the-road couples... Nothing is startling or poetic." Jessica Winter of "The Village Voice" also criticized the film's simplistic representation of the peasantry, describing "the young men's encounters with conscience-pricking, generically noble locals" who are occasionally assembled "to face the camera in a still life of heroic, art-directed suffering". The film also received criticism for its positive representation of Guevara as a youthful idealist. Anthony Daniels, an outspoken critic of Guevara's, argued that the film helps to continue his wrongful glorification, noting "The film is thus the cinematic equivalent of the Che Guevara T-shirt; it is morally monstrous and emotionally trivial." While Frans Weiser agreed, saying that the film's narrative is dominated by reductive images of Guevara as an idealistic, loveable rogue.