80
Marie Antoinette is gorgeous, giddy, gilded filmmaking.
What are people saying?
What are critics saying?
80
The New York Times by A.O. Scott
A thoroughly modern confection, blending insouciance and sophistication, heartfelt longing and self-conscious posing with the guileless self-assurance of a great pop song. What to do for pleasure? Go see this movie, for starters.
75
Marie Antoinette churns a symphony out of a single note, too light and hermetically sealed in the minds of Coppola and her queen to transcend its artfully cared-for fluffiness.
60
The New Yorker by Anthony Lane
The one, transfixing virtue of Marie Antoinette is its unembarrassed devotion to the superficial. There is no morality at play here, no agony other than boredom, and, until the last half hour, not a shred of political sense. The fun dies out of the film--in fact, the film itself expires--when Coppola suddenly starts dragging in discussions of the American Revolution.
70
New York Magazine (Vulture) by David Edelstein
This is one of the most immediate, personal costume dramas ever made, and so it's not unseemly to consider how the writer-director and her heroine overlap.
60
A graceful, charming, and sometimes witty confection -- at least for its first hour.
80
The Hollywood Reporter by Kirk Honeycutt
In the revisionist Marie Antoinette, writer-director Sofia Coppola and actress Kirsten Dunst take a remote and no doubt misunderstood historical figure, the controversial and often despised Queen of France at the time of the French Revolution, and brings her into sharp focus as a living, breathing human being with flaws, foibles, passions, intelligence and warm affections.
88
Coppola works in weird ways, but the real Versailles was so much weirder.
80
Coppola captures the luxe insularity of Marie Antoinette's world in a way that leaves no doubt why the revolution had to happen. The picture's final image is a moment of devastating stillness that wouldn't be out of place in Luchino Visconti's end-of-an-era masterpiece "The Leopard."
60
It is far from unpleasant to watch an attractive cast led by Kirsten Dunst parading around Versailles accoutered in Milena Canonero's luxuriant costumes to the accompaniment of catchy pop tunes. But the writer-director's follow-up to her breakthrough second feature, "Lost in Translation," is no more nourishing than a bonbon.