76
Metascore
25 reviews · Provided by Metacritic.com
- 90VarietyPeter DebrugeVarietyPeter DebrugeThis splendid satire benefits...from “The Singer” director Giannoli’s gift for striking just the right tone with such tricky material.
- 90Screen DailyLisa NesselsonScreen DailyLisa NesselsonThe bittersweet fact that money can buy many things but love and talent aren’t among them is explored with often-thrilling artistry in Marguerite.
- 83The A.V. ClubBenjamin MercerThe A.V. ClubBenjamin MercerA well-appointed period piece that nonetheless has no time for Midnight In Paris-style nostalgia.
- 80The New York TimesStephen HoldenThe New York TimesStephen HoldenMarguerite overstays its welcome by at least 20 minutes. What redeems it is Ms. Frot’s subtle, deeply compassionate portrayal of a rich, lonely woman clutching at an impossible dream until reality intrudes.
- 75The PlaylistKimber MyersThe PlaylistKimber MyersAt 127 minutes, Giannoli’s script feels overlong and a bit repetitive in its heroine’s disastrous performances. Lucien, the critic who helps propel Marguerite and her story forward, disappears for a large chunk of the film, only to randomly appear toward the end. Other than these missteps, Marguerite is worth watching with a well-earned grimace, largely for Frot’s pitch-perfect performance.
- 70The Hollywood ReporterJordan MintzerThe Hollywood ReporterJordan MintzerWriter-director Xavier Giannoli offers up an amusingly entertaining portrait of fortune, infamy and severe melodic dysfunction in the polished French period dramedy, Marguerite.
- 70Village VoiceVillage VoiceIt is Frot's performance — full of warmth, humor, and hope — that carries the story and even leads to some laugh-out-loud moments.
- 63New York PostFarran Smith NehmeNew York PostFarran Smith NehmeWhile the premise (inspired by the true story of tune-challenged American socialite Florence Foster Jenkins) could be as cruel as “Carrie,” Frot’s would-be diva is achingly sympathetic.
- 38Slant MagazineDiego SemereneSlant MagazineDiego SemereneXavier Giannolli consistently glosses every sequence with a stagey kind of humor, and at the main character's expense.