Metascore
56

Mixed or average reviews - based on 28 Critics

Critic score distribution:
  1. Positive: 12 out of 28
  2. Negative: 1 out of 28
  1. 100
    Everything works miraculously here, making Coco Chanel & Igor Stravinsky one of the most bountiful experiences of the year.
  2. The flesh-and-blood protagonists are powerful, driven people caught in a riptide.
  3. 75
    Coco Chanel & Igor Stravinsky concerns a love affair between two irresistible forces who have never met an immovable object before.
  4. 75
    Unlike last year's "Coco Before Chanel," in which Audrey Tautou played a warmer, kinder spirit, Mouglais presents her character as steely and unbending, a woman who has built her empire on her terms and refuses to abdicate the slightest control on her life.
  5. For at least a half hour, Coco Chanel & Igor Stravinsky is a brilliant and exciting film and seems almost sure to be one of the best of 2010. Then it becomes simply good. Then it becomes merely interesting. And then, about 15 minutes before the finish, it becomes dull and interminable.
  6. Offers two hours of luxury and loveliness, music and art, and a bit of sexually charged madness, too.
  7. The film would have been more satisfying if director Jan Kounen (Darshan: The Embrace) had shown more of the ferment of the times.
  8. There are so many guilty pleasures here that it's amazing the film is as good as it is. The passions feel real, the roles are fully inhabited and the art speaks for itself.
  9. 67
    Coco Chanel & Igor Stravinsky is an elegant scandal almost devoid of true passion, no matter how many times the nude lovers artfully mingle.
  10. 65
    Despite an admirable mastery of both Russian and French, Mikkelsen has no shot at making a proud (Russian!) musical genius a believably lovesick puppy.
  11. Getting two biographies on the same person in such a short window is unusual. What's even more unusual is that both suffer from the same flaw.
  12. It's a little black dress of a movie, an elegant hint of something sensual that is ultimately denied to us.
  13. Reviewed by: Patrick Peters
    60
    A beautifully designed but overly formal biopic that can't match the greatness of the artists it depicts.
  14. Reviewed by: Richard Mowe
    60
    A sumptuous recreation of 1920s France and the unbridled affair between two of the century's most iconic figures.
  15. Reviewed by: Olivia Giovetti
    60
    The opening riot at The Rite of Spring concert sets the scene for an anticlimactic biopic, which could have been sumptuously potent had this dual portrait of artists in love been trimmed…or at least hemmed.
  16. Where the film fails, ironically, is in the central love affair. Danish actor Mads Mikkelsen is undeniably gifted, but his Stravinsky is a blank, stoic presence only comfortable at a piano.
  17. 50
    Unfortunately, neither of these fascinating artistic giants is given much of a personality.
  18. The costume design, however, is the film's most enthralling aspect; replicas of actual Chanel designs were created for the film, and a fresh costume graces nearly every sequence. Alas, Coco Chanel & Igor Stravinsky unfolds on a screen instead of a catwalk.
  19. Two narcissists do not a couple make, and without any actual relationship, there really isn't a movie.
  20. Reviewed by: Jordan Mintzer
    50
    On a dramatic level, Dutch-born helmer Jan Kounen's hyper-stylized, emotionally vacuous film is like a pair of designer pants that look great but don't fit, or a rare vinyl recording that keeps skipping at the best parts.
  21. Reviewed by: Karina Longworth
    50
    Here, Coco's cast as a femme fatale who preys on a helpless nebbish--the Audrey Tautou--starring "Coco Avant Chanel" was much more fun.
  22. The movie, by Dutch director Jan Kounen, is all surfaces, set pieces, Significant Looks, and voguing -- the same strictures Chanel and Stravinsky sought to bust.
  23. Never regains that initial blast of energy and the final scenes wobble toward a wishy-washy ending.
  24. The well-staged opening sequence, which depicts the riot at the 1913 Paris première of "Le Sacre du Printemps," is, alas, the film's high point.
  25. Reviewed by: Sam Adams
    50
    The movie's saving grace is its performances.
  26. It's all picture and no motion, as wooden as its framing. Lovely and lifeless, the result is a traditional portrait of two defiers of tradition.
  27. 50
    Igor may be the most important composer of the 20th century, but he is a mere human. Coco, in this beautiful but indulgent French film, is a work of art.
  28. 38
    As portrayed by Anna Mouglalis and Mads Mikkelsen, Coco Chanel & Igor Stravinsky weren't exactly Rhett & Scarlett.

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