| 88 |
Chicago Tribune
One of the most clever, most enjoyable historical fantasies to hit screens in a long time, The Emperor's New Clothes is a sumptuous showcase for Ian Holm, who delivers not one but two great performances.
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| 88 |
Baltimore Sun
It's sometimes said that the greatest test of a chef is cooking something cheap and simple, like a piece of chicken or a hamburger. In a movie that testifies to simple pleasures, Taylor and company pass that test again and again.
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| 80 |
Los Angeles Times
Sergio Ballo's costumes have the look of authentic clothing, realistically reflecting the characters' wide range in social status. Rachel Portman's score, at once romantic, majestic and vital, completes this beguiling film.
|
| 80 |
Washington Post
Engaging, witty and touching film, one that defies categories to become a romantic comedy, historical biopic and philosophical rumination, all in one.
|
| 80 |
New Times (L.A.)
In tampering with history, these storytellers present to us a rare and wonderful case of enlightenment beyond the accepted truth.
|
| 75 |
Entertainment Weekly
It's a royal, finely modulated double performance by an actor who always wears his powers with graceful modesty.
|
| 75 |
ReelViews
Taylor's approach to this material -- mixing occasional humor with undemanding drama -- works well enough that we don't care about the logical inconsistencies and plot holes. To that end, The Emperor's New Clothes ends up as a pleasant diversion.
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| 75 |
Philadelphia Inquirer
Touching historical fantasy.
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| 75 |
New York Daily News
In a hilarious bit of actorly sleight-of-hand, Holm (who is not new to the role of Napoleon, having it played it twice before) slips effortlessly from emperor to impostor.
|
| 75 |
The Globe and Mail (Toronto)
Has a refreshingly different twist: What we have here is a "what if" comedy.
|
| 75 |
San Francisco Chronicle
The result is a genre-bending yarn, an entertaining mix of period drama and flat-out farce that should please history fans.
|
| 75 |
Chicago Sun-Times
Surprisingly sweet and gentle comedy.
|
| 70 |
Salon.com
A trifle but an exceptionally civilized, charming trifle.
|
| 70 |
Variety
Pleasant rather than rollicking entertainment.
|
| 67 |
Seattle Post-Intelligencer
The film's European locations, sets (in Rome's Cinecitta studios) and photography are unusually striking; Rachel Portman contributes an elegant score; and Holm (who played the emperor once before in 1981's "Time Bandits") embodies the character with an effortlessly regal charisma.
|
| 63 |
Miami Herald
Mildly engaging.
|
| 63 |
New York Post
Alan Taylor ("Palookaville"), an American, directs with a playful touch, and Denmark's Hjejle is far more assured acting in English here than she was in "High Fidelity."
|
| 60 |
TV Guide
A fun and fanciful comic adventure, based on the novel "The Death of Napoleon" by Simon Leys, that takes a great premise and runs with it.
|
| 60 |
Washington Post
Charming but slight.
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| 60 |
The Onion (A.V. Club)
Holm carries Napoleon's regal bluster without edging into cartoonish folly, taking him seriously enough to make an absurd situation solemn, and keeping the film from winking too coyly at its audience.
|
| 60 |
Chicago Reader
Desperately wants to be whimsical and charming. But whimsy isn't easy to carry off, and director Alan Taylor, who has directed mostly television dramas, has a heavy hand -- scenes meant to be comical are destroyed by leaden pacing and a puzzling mix of tones.
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| 50 |
Boston Globe
Lynda Gorov
Not without its charms. But it never rises to its clever what-if concept.
|
| 50 |
Charlotte Observer
Watching this comedy is like going out with an attractive blind date who runs out of conversation after a quarter of an hour.
|
| 50 |
Austin Chronicle
All's fair in love and war, I know, but really now.
|
| 40 |
Empire
Ian Freer
Not dire, but you can’t escape the feeling that there’s a good movie in here trying to get out.
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| 40 |
Village Voice
Dull, if not devoid of wit, this shaggy dog longs to frisk through the back alleys of history, but scarcely manages more than a modest, snoozy charm.
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| 40 |
The New York Times
Although there's plenty of opportunity for low comedy in the notion of an emperor and an oaf exchanging roles, The Emperor's New Clothes, much to its detriment, doesn't pursue them.
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| 30 |
Wall Street Journal
The blithely dishonest script would have us believe that the real Napoleon can't prove his identity when the fake Napoleon refuses to come clean. Not only is that patent nonsense, it's cockeyed dramaturgy.
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