Time Out

A wonderful achievement, a dark film with a generous heart in the shape of an extraordinarily touching performance from Hoskins.

CineVue by John Bleasdale

Shines out as a rough diamond, a masterpiece of British cinema undeniably worthy of its classical title.

ReelViews by James Berardinelli

In an era when movies about love almost always invariably devolve into formulaic affairs, Neil Jordan's Mona Lisa stands out as an often-surprising, multi-layered achievement. By offering a rumination on a wide variety of love - real, imagined, romantic, sexual, and platonic - Mona Lisa defies easy categorization and offers a complex and superior one-hundred minutes for all who view it.

Chicago Sun-Times by Roger Ebert

The movie's ending is a little too neat for my taste. But in a movie like this, everything depends on atmosphere and character, and "Mona Lisa" knows exactly what it is doing.

Chicago Tribune by Gene Siskel

It is precisely that interplay between tenderness and ruthlessness that is the special excitement of Mona Lisa, one of the year's most spellbinding films. [2 July 1986, p.C3]

Los Angeles Times by Sheila Benson

In a season not noted for adult diversions, Mona Lisa could hardly be more welcome: a glorious, heart-shaped box of bittersweet chocolates for the grown-ups in the house.

Time Out by Staff (Not Credited)

A wonderful achievement, a dark film with a generous heart in the shape of an extraordinarily touching performance from Hoskins.

Chicago Reader by Dave Kehr

Director Neil Jordan (Danny Boy, The Company of Wolves) does a good job of re-creating the dark romanticism of American film noir, and if the project does feel a little like a hand-me-down, it is graced by Jordan's fine, contemporary feel for bright, artificial colors and creatively mangled space.

Washington Post by Rita Kempley

Hoskins and costar Cathy Tyson of the Royal Shakespeare Company are an electric couple, with their disparate colors and shapes. She's class; he's crass. Their turbulent teamwork is augmented with sure supporting performances by Michael Caine, as the flesh-peddling villain Mortwell; and British comedian Robbie Coltrane, as George's teddy bear of a best friend, Thomas. [18 July 1986, p.31]

Newsweek by David Ansen

Bob Hoskins, who won the best-actor award at Cannes, is ferociously good. George is both a comic figure and a tragic one, and Hoskins never overplays either hand. At first it's hard to swallow this ex-con's naivete, but he makes George's romantic agony so real it barely matters. The 20-year-old Tyson is stunning, and the more you learn about this elegant femme fatale, the better her performance seems. Caine is wittily slimy: his voice always a shade too loud, his blood pressure too high, he creates a pungent cameo of corruption... Jordan has chiseled a dark, sleazily glamorous gem.[16 June 1986, p.75]

The Associated Press

A disturbingly vivid new film by Neil Jordan for George Harrison's Handmade Films. It is distinguished by a riveting performance by Bob Hoskins, who was named best male performer at the recent Cannes Film Festival. He is certain to receive Academy consideration early next year.

The A.V. Club by Keith Phipps

His vision is most immediately reminiscent of from the hellish New York of Scorsese's Taxi Driver, but Hoskins provides the crucial difference, spiking the nihilism by emerging from the abyss with a glimmer of hope instead of a thousand-yard stare.

Empire by Ian Nathan

The world Jordan envisions is desperate, but Hoskins’s human heart offers a lovely thread of hope.

TV Guide Magazine

MONA LISA is a detailed, thoughtful film that sensitively explores the emotions within its seedy, exploitative milieu.

The New York Times by Vincent Canby

NEIL JORDAN'S Mona Lisa is classy kitsch. It's as smooth and distinctive (and, ultimately, as insubstantial) as the old Nat (King) Cole recording of the song, which gives the film its title and a lot of its mood. It's also got high style, so you needn't hate yourself for liking it.

The Guardian

Ultimately, there is something trite at the centre of the movie, most especially in the overuse of Nat King Cole’s haunting Mona Lisa to suggest Tyson’s ambiguity and Hoskins’s puzzlement. But this is almost concealed by Tyson’s sense of desperation and Hoskins’s painful sincerity.