Focus Features | Release Date: February 13, 2015 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
9
Mixed:
29
Negative:
8
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Critic Reviews
With a loose-limbed naturalness, she conveys naiveté, intellectual curiosity and romantic yearning, and shows the unassuming Ana’s newfound thrill at being seen, however complicated the man holding her in his admiring gaze. She’s open and vulnerable but no fool. Best of all, Johnson and her director embrace Ana’s paradox: She snickers at Christian’s predilections, but they also turn her on.
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The film strips Fifty Shades of Grey to its essentials: a confident man, an awkward girl, and a red room rimmed with leather handcuffs. From there, Taylor-Johnson rebuilds. She constructs an erotic dramedy that takes its romance seriously even as it admits that Christian Grey's very existence is absurd.
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The GuardianFeb 10, 2015
Credit goes to director Sam Taylor-Johnson and her screenwriter, Kelly Marcel, who've stripped the first book of its biggest flaws, while still honoring its essence. And lead Dakota Johnson makes for an ideal heroine, though — as doubters feared — her chemistry with costar Jamie Dornan doesn't always sizzle.
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There's real hypocrisy here. If a movie like Fifty Shades of Grey is supposed to offer a voyeuristic experience - and not a ridiculous experience - have some integrity about your nudity. Despite what the filmmakers may want to believe, there isn't a lot else going on here. Fifty Shades of Grey Matter, not so much.
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Much was made about how, with respectable director Sam Taylor-Johnson at the helm, Fifty Shades was going to be a legitimately good movie. It’s not, and it’s also not over-the-top enough to suggest future cult-classic status. What it is is a movie best saved for at home viewing, both because there is no compelling reason to see it on the big screen, and mostly because the pause, rewind and fast-forward controls are sure to come in handy.
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The movie isn't a complete disaster -- it's got a strong performance at its core from Dakota Johnson, and it looks sleek and modern, like a Beyonce video or a Calvin Klein commercial -- but it's an unpleasant experience with a sleazy stench that sticks in a way that E.L. James' novel doesn't.
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Fifty Shades encourages us to buy into this credulity-straining scenario because the actors go well together (casting director Francine Maisler did the heavy lifting), Dornan's steely resolve facing off nicely against Johnson's engaging feistyness as each tries to make this cross-cultural relationship work on his or her own terms.
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Essentially a Harlequin Romance with pulleys, E.L. James’s novel is not exactly “Lady Chatterley’s Lover,” but the movie, directed by Sam Taylor-Johnson and written by Kelly Marcel takes itself so seriously that it almost cries out to be lampooned. I’m sure the “Saturday Night Live” crew is already on the case.
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IndieWireFeb 10, 2015
Directed by Sam Taylor-Johnson from Kelly Marcel's screenplay, the considerable talent behind the camera and a modicum of considerable performances yield a few undeniable guilty pleasures, but most viewers will be seeking a safe word to escape this two-hour-plus mess of half-baked excess.
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And there you have the problem with this film. It is gray with good taste — shade upon shade of muted naughtiness, daubed within the limits of the R rating. Think of it as the “Downton Abbey” of bondage, designed neither to menace nor to offend but purely to cosset the fatigued imagination. You get dirtier talk in most action movies, and more genitalia in a TED talk on Renaissance sculpture.
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The long-awaited, highly anticipated, much-discussed film adaptation of the first segment of E L James’ inexplicably popular "Fifty Shades" trilogy is a tedious exercise in dramatic wheel-spinning that doesn’t have the courage to explore the darkest elements of the characters and doesn’t have the originality to stand on its own merits.
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