TheWrap by Martin Tsai

It’s based on historical facts and real-life characters, yet it feels timeless and allegorical. It’s indisputably Harron’s best, and she deftly locates stately classicism amid the crass and the banal, and vice versa.

Variety by Owen Gleiberman

It’s both a highly entertaining movie and, by the end, a haunting one. It revels in Dalí’s artifice even as it mercilessly peels away his layers.

The New York Times by Manohla Dargis

While Dalíland occasionally edges into caricature, its take on Gala’s role in the marriage, her temperament and feverish attention to money is happily more complicated.

Film Threat by Andy Howell

It raises interesting questions about cults of personality, our inability to deal with aging, and how we can use the people around us to get what we want. That’s not exactly surrealism, nor is it realism. It’s just Hollywood.

The Hollywood Reporter by John DeFore

Mary Harron’s Dalíland revolves around the titular Surrealist, played with restraint and dignity by Ben Kingsley, while gently nudging the spotlight in the direction of his complicated wife/muse Gala, a role in which Barbara Sukowa more than earns the movie’s attention.

Movie Nation by Roger Moore

Sukowa makes a fine villain, one among many “using” Dali. But Kingsley is the reason to visit Daliland, allowing us to “be in the presence…of genius” and be irritated, titillated, amused and maybe a little depressed about the trap our imperious host has flounced into and embraced as the doom he dreads but so feverishly craves.

Screen Daily by Tim Grierson

Daliland dials up the actorly pyrotechnics, but it’s all spectacle without insight, failing to lay a foundation for why this long-running marriage, despite its volatility, endured.

IndieWire by Katie Rife

For all its promises of an inside look into the Dalís’ lifestyle, the film never does much more than document it.

The Playlist by Jason Bailey

Mary Harron is too good a director to make a drab, conventional biopic, so it’s disappointing to report that with Dalíland, she’s done just that. It’s not a complete waste, and she manages to insert a handful of distinctive flourishes and memorable characters. But the picture never escapes the box it’s been placed in or transcends a key, fundamental error in its conception.

Washington Post by Pat Padua

Directed by Mary Harron from a screenplay by John Walsh, the thoroughly unengaging film is a remarkable achievement, but only considering the misspent potential of its juicy source material.