Critic Reviews
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It’s good fun, and almost too much, but it works.
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Marie Antoinette starts slowly but should pick up as Antoinette tries to seduce the reluctant Louie and both become monarchs.
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The dialogue is rife with anachronisms. ... Never mind a torrent of vulgarities that seem far more 21st century than 18th. ... For all the dithering—something for which Louis XVI remains famous—"Marie Antoinette" has some very solid performances, notably by Mr. Purefoy, who makes Louis XV kindly, fierce, fatherly and sexually predatory. Ms. Schüle pivots from making Marie a believable child to portraying her as a convincing court politician and schemer.
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Schüle, pebbly brown eyes exuding less and less innocence, is highly watchable as an unloved newbie in an utterly foreign court. ... It feels more like a Versailles-themed edition of Love Island with retrofitted dialogue.
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I've seen subtler versions of the ugly sisters in panto Cinderella. Yet while the drama will inevitably be picked apart by experts over cultural missteps and inaccuracies, and seems to prize style over content, I like its fresh energy.
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Marie Antoinette genuinely tries to put a new spin on the life of the famous French Queen, but in trying to both do something different, and stick to what worked so well for stories that came before it, the series winds up speaking far too much and saying very little.
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The early chapters are enlivened by James Purefoy's droll take on Louis' lusty father, Louis "papa Roi" XV, and Marie's jousting with the king's possessive mistress, the fabled Madame Du Barry (Gaia Weiss). But once they're out of the picture, and the bratty new Queen turns her Petit Trianon chateau into a party palace, it's hard to muster much sympathy for these spoiled royals and their reprehensible foes. [13 - 26 Mar 2023, p.4]
Awards & Rankings
User score distribution:
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Positive: 11 out of 13
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Mixed: 0 out of 13
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Negative: 2 out of 13
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Jan 7, 2023
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Jan 8, 2023
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Jan 15, 2023