80
New Times (L.A.) by Andy Klein
Surprisingly manages never to grow boring -- which proves that Rohmer still has a sense of his audience.
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50
The New Yorker by Anthony Lane
The line between the dispassionate and the dull can be ominously faint, and when Rohmer kicks off his film with ten or fifteen minutes of solid anecdotal chat, you fear for the stamina of the audience. [13 May 2002, p. 96]
100
Christian Science Monitor by David Sterritt
Rohmer's films are renowned for their beauty, so it's surprising that he made a picture using digital video rather than film. But this was the right choice.
75
New York Daily News by Jami Bernard
The result is a galvanizing mix of intellectual discourse and guillotined heads.
90
Chicago Reader by Jonathan Rosenbaum
This is absorbing throughout--not just a history lesson but, as always with Rohmer, a story about individuals
80
Los Angeles Times by Kenneth Turan
Just as interesting, if not more so, is how Rohmer integrates his very contemporary concerns into a period drama, how he creates characters who manage to be true to our times as well as their own.
50
The Lady and the Duke, which drags on for over two hours, is an experiment in shooting a period film on a shoestring that turns out to be more interesting than actually entertaining.
40
Austin Chronicle by Marc Savlov
A bold (and lovely) experiment that will almost certainly bore most audiences into their own brightly colored dreams.
75
The Lady and the Duke is not about the revolution. It's an intimate story of a woman's perspective during a dramatic event in world history.
91
Seattle Post-Intelligencer by Sean Axmaker
Played by Lucy Russell with a defiant, unapologetic embrace of aristocratic privilege, Grace is a maddening yet fascinating character.