Memoirs of a Geisha

Village Voice by Dennis Lim

Swaddled in the posh vulgarity that passes for awards-season elegance, Memoirs is deluxe orientalist kitsch, a would-be cross between "Showgirls" and "Raise the Red Lantern," too dumb to cause offense though falling short of the oblivious abandon that could have vaulted it into high camp.

ReelViews by James Berardinelli

There's no doubting that Memoirs of a Geisha is a lush motion picture, and it has much to recommend it, but this will not go down as one of the great screen romances of the 2000s.

The Hollywood Reporter by Kirk Honeycutt

Here is a film about Japan made by Americans, shot mostly in the U.S. and, of course, in English. Once you accept these compromises in the name of international filmmaking, none is a real deterrent to enjoying this lush period film.

Entertainment Weekly by Lisa Schwarzbaum

Not since "Snow Falling on Cedars" have I seen so pedigreed a lit-pic sit there like such an inert teapot, available only to be admired for its mysterious, ineffable Asian teapotness.

The New York Times by Manohla Dargis

Mr. Marshall can't rescue the film from its embarrassing screenplay or its awkward Chinese-Japanese-Hollywood culture klatch, but Memoirs of a Geisha is one of those bad Hollywood films that by virtue of their production values nonetheless afford a few dividends, in this case, fabulous clothes and three eminently watchable female leads.

Christian Science Monitor by Peter Rainer

Beautiful geishas flit and whoosh through the equally beautiful scenery. Their kimonos are artworks-in-motion. So why is the film so boring? It could be because director Rob Marshall is so transfixed by all the ritualistic hoo-ha that he never brings the story down to earth.

Rolling Stone by Peter Travers

Any doubts about three Chinese actresses speaking English with Japanese accents vanish in the face of their deeply felt performances and the world Marshall conjures with magical finesse.

L.A. Weekly by Scott Foundas

It's not a great movie, or even a particularly good one, but it's spectacular. No expense has been spared. The technical crew reads like a roll call of Oscar-night regulars.

The A.V. Club by Scott Tobias

The film comes to life whenever the cartoonishly vindictive Gong throws a tantrum, but she played virtually the same role in Zhang Yimou's "Shanghai Triad," which presented a far more compelling rationale for her star fits. Without her, this expensive piece of backlot pageantry turns vivid history into an ossified tchotchke.

Variety by Todd McCarthy

From a filmmaking point of view, this is a work that the old Hollywood moguls themselves would have been proud to present.