Klimt

San Francisco Chronicle by

A good bio of any historical character has to have a compelling story, whether evil or good. Klimt appears to have had that story. I sure would have liked to know what it was.

L.A. Weekly by Ella Taylor

Ruiz is so intent on harnessing the painter to his own -- here, rather arid -- relativism that he never manages to convey the unfettered eros that brings crowds flocking to exhibitions of Klimt’s work, even as critics hold their noses.

TV Guide Magazine by Ken Fox

Raoul Ruiz's absurdly overwrought phantasmagoria tries to recast the notorious Viennese artist's life as a kind of Divine Comedy: Inferno.

Los Angeles Times by Kevin Thomas

Klimt comes alive only fitfully at best, and it seems that for those occasional moments when it comes into focus there is an equal number that are merely silly.

The Hollywood Reporter by Richard James Havis

The result is a pleasingly discursive film that depicts Klimt and the ideals and locales of fin de siecle Vienna.

The New York Times by Stephen Holden

The shortened version is lovely to look at, but the stilted dialogue and crude overdubbing in scenes where English is not spoken often make it an impenetrable hodgepodge.