Variety by Owen Gleiberman

Rush and Tucci create a captivating portrait of an artist who’s at once elated, haunted, and utterly possessed.

Los Angeles Times by Kenneth Turan

Final Portrait is quietly involving, amusing in a shaggy-dog-story way and impeccably made.

New York Magazine (Vulture) by David Edelstein

Rush is a wonder. It takes bravery to convey closure, tunnel vision, total indifference to the camera that actors always know is there, however self-effacing they might want to be appear. Final Portrait is, like Rush’s performance, a miniature, but there’s a fullness to Tucci’s vision transcending every surface.

Washington Post by Ann Hornaday

Rather than probe Giacometti and Lord’s curiously arms-length relationship, Final Portrait is at its best simply watching the artist work — the “artist,” in this case, meaning both Giacometti and Rush.

IndieWire by Ben Croll

Though the film is all surface, that surface is precisely the point.

Entertainment Weekly by Dana Schwartz

With its de-saturated grays and layered textures, Final Portrait itself is like a still portrait of Giacometti. You, as the viewer, are lucky just to get to spend time with these men during twenty or so days in their lives, privileged to be allowed inside Giacometti’s studio, watching the painting come together.

The Telegraph by Robbie Collin

Rush hurls himself into the film’s star turn with a cantankerous abandon that more than compensates for his slightly unsteady accent. It’s a wildly entertaining performance that feels vividly inhabited both physically and vocally.

Total Film by Philip Kemp

A stellar performance from Geoffrey Rush centres this diverting glimpse into the chaotic life of a great artist.

Empire by Andrew Lowry

Sensibly dramatising a few representative days rather than Giacometti’s whole life, this may seem slight, but there’s a lot to dig into here — and Rush hasn’t had a showcase this good in years.

The Guardian by Peter Bradshaw

It’s a highly entertaining portrait of the two men, and Tucci’s own directorial brush strokes are bold and invigorating.]

The Playlist by Jessica Kiang

It’s a charming, modest glimpse into a rarefied world that, lit with so much humble affection for its characters, manages to make it seem not so rarefied after all.

Screen Daily by Jonathan Romney

Effectively a chamber piece spiked with musings on the difficulty of art, the piece is by nature a little stagey as well as talky.

Screen International by Jonathan Romney

Effectively a chamber piece spiked with musings on the difficulty of art, the piece is by nature a little stagey as well as talky.

The Hollywood Reporter by David Rooney

Amusing but slight, the small-scale film is elevated by a spirited characterization from Geoffrey Rush as mercurial artist — is there any other kind in movies? — Alberto Giacometti.

The Film Stage by Rory O'Connor

Rush is a joy to watch, no doubt, but the unavoidable sense remains that Tucci is stretching his material a little thin, restricting the narrative to the two-weeks-plus Lord spent in Paris with nothing on either end to really fill us in.