Washington Post by Stephen Hunter

All in all, A Good Woman retains ye olde Wilde's zing, his sense of pace and place, but most of all his snappy one-liners, and it finds a new way to showcase them brilliantly.

TV Guide Magazine by Ken Fox

Amazingly, not all of the witty and wise barbs are Wilde's, and any confusion between the old and the new is probably the highest compliment one could possibly pay to screenwriter Howard Himelstein's tart screenplay.

Christian Science Monitor by Peter Rainer

Wilkinson artfully deepens a character who in Wilde's original play was rather boobish. It's a marvelous performance in a pretty good film.

ReelViews by James Berardinelli

The movie succeeds because screenwriter Howard Himelstein keeps Wilde's best lines intact and the actors speak the words with practiced confidence.

Miami Herald by Connie Ogle

A witty and engaging bit of fluff about sex, scandal, idleness, gossip, blackmail, guilty secrets and, most surprisingly, redemption.

Portland Oregonian by M. E. Russell

The movie is gorgeous to look at, the script has a killer twist and the cast is competent.

Chicago Reader by Andrea Gronvall

Director Mike Barker elicits a marvelously agile performance from Hunt, who's well matched by Tom Wilkinson as her new admirer.

Film Threat by Phil Hall

A pleasant diversion which mixes snatches of Wilde's waspish humor with a stylish Art Deco environment. The result is amusing to the ears and easy on the eyes.

USA Today by Claudia Puig

For the most part, Wilde's sophisticated, sardonic dialogue has been capably adapted by screenwriter Howard Himelstein and director Mike Barker.

Philadelphia Inquirer by Carrie Rickey

Hunt, whose flutelike voice makes music of Wilde's dialogue, has the most difficult role. While she acquits herself honorably, she nudges her lines a little too broadly, as if she's worried that the audience will miss the double meanings and wordplay.

Village Voice by Jessica Winter

Pleasant and undemanding, all the more so whenever Tom Wilkinson's on-screen as a possible Erlynne suitor, the movie miscasts Hunt as the pragmatic seductress.

Chicago Tribune

A tedious picture, redeemed in part by Tom Wilkinson's performance as Tuppy--he's the sole cast member who doesn't give birth to every epigram--and by the hats.

The A.V. Club by Keith Phipps

The trick to staging Wilde is to hint at the gravity beneath the witticisms. A Good Woman barely even gets the witticisms out, though it does contain Wilde's line about people being either tedious or charming.

Variety by Derek Elley

Has a script that plays more like a period romancer studded with occasional Wilde-isms and gets uneven treatment from a mixed Anglo-American cast.

The Hollywood Reporter by Michael Rechtshaffen

While screenwriter Howard Himelstein and director Mike Barker have done a workable job of drawing the Wilde social satire out of the drawing room, the film never quite manages to travel at the same buoyant velocity as the acerbic wit.

Rolling Stone by Peter Travers

Hunt's flat delivery is mercilessly cruel to Wilde's delicious epigrams. That sound you hear is Oscar spinning madly in his grave.

L.A. Weekly by Ella Taylor

Stephen Campbell Moore is miserably out of his depth as the playboy trying to tempt Scarlett, leaving poor Tom Wilkinson to sound a lone note of sophisticated intelligence.

Entertainment Weekly by Lisa Schwarzbaum

British director Mike Barker and magpie New York screenwriter Howard Himelstein, have taken "Lady Windermere's Fan" - Wilde's first big stage success, written in 1892 - and pulped it senseless in the name of puttin' on the charm.