It's a wonderful postmodern hug of a movie, and never once do you not know you're watching a movie.Read Full Review »
90
NewsWeek: David Ansen
Luhrmann has raised the level of his game, deconstructing the Hollywood musical -- a genre all but left for dead -- and reassembling it with a potency that hasn’t been seen since “Cabaret.”Read Full Review »
88
CHICAGO SUN-TIMES: Roger Ebert
The movie is all color and music, sound and motion, kinetic energy, broad strokes, operatic excess.Read Full Review »
80
Salon.com: Stephanie Zacharek
It's a mishmash of decoration, drapery and debauchery that's both deeply pleasurable and kitschy.Read Full Review »
You get faux feelings -- but faux of the highest, giddiest order.Read Full Review »
70
ROLLING STONE: Peter Travers
The grand becomes grandiose and the lyrical turns bombastic.Read Full Review »
70
LOS ANGELES TIMES: Kenneth Turan
You can go with it or resist it, be exhilarated or worn out. But forgetting the experience is not one of your options.Read Full Review »
70
Washington Post: Rita Kempley
McGregor, the movie's most engaging performer, is convincing enough to sell the mutual attraction. The "Trainspotting" star is usually playing some kind of freak, and this is a nice stretch for him.Read Full Review »
67
ENTERTAINMENT WEEKLY: Owen Gleiberman
The result is a musical that substitutes irony for pop passion, misanthropic disjointedness for lyrical flow.Read Full Review »
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