Marie Antoinette


Generally favorable reviews - based on 37 Critics

Critic score distribution:
  1. Positive: 22 out of 37
  2. Negative: 5 out of 37

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Critic Reviews

  1. In casting an all-American Jersey girl and surrounding her with Manolo Blahniks and the Strokes, Coppola draws a connection between her audience (domestically, at least) and the doomed dauphine, who is likewise insulated and distracted from her country's pointless involvement in a disastrous foreign war that is bankrupting its government and starving its people – and all the while she spends, spends, spends.
  2. 75
    As art, the movie is neither shallow nor profound, just inconsequential. Yet Coppola is too clever a filmmaker to dismiss the movie out of hand. If her film is mostly surface then she skims with style.
  3. 100
    Kristen Dunst is pitch-perfect in the title role.
  4. It's true that this sugarcoated romp doesn't take itself, or its source material, particularly seriously, but if you're confident your grasp of European history can withstand the assault of two hours of bubbly entertainment, Marie Antoinette guarantees you a good time.
  5. Destined to become this year's love-it-or-hate-it movie. Is it OK to say I merely liked it a lot?
  6. Reviewed by: Ian Freer
    Marie Antoinette is gorgeous, giddy, gilded filmmaking.
  7. Coppola's stranded royal suggests that at heart, Marie Antoinette was just a simple girl who wanted to have fun, and got her head handed to her.
  8. Marie Antoinette gives a wide berth to the conventions of period dramas, especially their time-capsule remove, and instead tries to mainline the singular personal experience of the arch-villainess of French history (and freedom history, for that matter). The result is a startlingly original and beautiful pop reverie that comes very close to being transcendent.
  9. 75
    Coppola and her crew were allowed to shoot at Versailles -- family pedigree does pay dividends, apparently -- which gives the film a needed whiff of reality.
  10. Coppola won't win any Oscars, but the movie is a contender for cinematography, costumes and production design, and it's a lock for Prettiest Pastries.
  11. This is one of the most immediate, personal costume dramas ever made, and so it's not unseemly to consider how the writer-director and her heroine overlap.
  12. 88
    Coppola works in weird ways, but the real Versailles was so much weirder.
  13. A gorgeous confection, packed with gargantuan gowns and pornographic displays of pastrystuffs, Sofia Coppola's Marie Antoinette is also a sharp, smart look at the isolation, ennui and supercilious affairs of the rich, famous and famously pampered.
  14. 67
    For all the technical beauty of Marie Antoinette, there's nobody at home at Versailles.
  15. Reviewed by: Aaron Hillis
    Marie Antoinette churns a symphony out of a single note, too light and hermetically sealed in the minds of Coppola and her queen to transcend its artfully cared-for fluffiness.
  16. 88
    With lyrical intelligence and scrappy wit, Coppola creates a luscious world to get lost in. It's a pleasure.
  17. 80
    Coppola captures the luxe insularity of Marie Antoinette's world in a way that leaves no doubt why the revolution had to happen. The picture's final image is a moment of devastating stillness that wouldn't be out of place in Luchino Visconti's end-of-an-era masterpiece "The Leopard."
  18. The cast is uniformly non-French, and restrained to the point of rigor mortis. Dunst is the movie's strongest and weakest element. Her natural charm carries us through the scenery, at the same time her distinct Americanness rings false in every scene.
  19. In the revisionist Marie Antoinette, writer-director Sofia Coppola and actress Kirsten Dunst take a remote and no doubt misunderstood historical figure, the controversial and often despised Queen of France at the time of the French Revolution, and brings her into sharp focus as a living, breathing human being with flaws, foibles, passions, intelligence and warm affections.
  20. 80
    A thoroughly modern confection, blending insouciance and sophistication, heartfelt longing and self-conscious posing with the guileless self-assurance of a great pop song. What to do for pleasure? Go see this movie, for starters.
  21. Ultimately, Coppola's pastel-colored take on Marie's life is beguiling and annoying in equal measure.
  22. 100
    Coppola brilliantly conjures the young queen's insular world, in which she was both isolated and claustrophobically scrutinized.
User Score

Mixed or average reviews- based on 322 Ratings

User score distribution:
  1. Positive: 62 out of 118
  2. Negative: 40 out of 118
  1. RobertI.
    Apr 7, 2007
    Visually ravishing, the film captures the imperial grandeur of 18th century France, animated by the shallow, exquisite creatures of fashion. Visually ravishing, the film captures the imperial grandeur of 18th century France, animated by the shallow, exquisite creatures of fashion. What dresses! What shoes! Captures excess without cloying or beating us over the heads, Coppola's fresh interpretation remains underrated and misunderstood. Full Review »
  2. Aug 14, 2013
    Love this movie, one of my favorites, love everything: Kirsten, the dresses, the acting, ESPECIALLY love Coppola for making my favorite movie.Love this movie, one of my favorites, love everything: Kirsten, the dresses, the acting, ESPECIALLY love Coppola for making my favorite movie. Why is that people don't like it? its perfect. Gorgeous. Delighting. I 've re watched it soooo many times Full Review »
  3. KenG
    Nov 21, 2006
    Sofia Coppola shows that she was more interested in Marie Antoinette's shoe collection, then she was in Marie Antoinette.