70

The Hollywood Reporter

By Richard James Havis
The result is a pleasingly discursive film that depicts Klimt and the ideals and locales of fin de siecle Vienna.
Full Review
50

TV Guide

By Ken Fox
Raoul Ruiz's absurdly overwrought phantasmagoria tries to recast the notorious Viennese artist's life as a kind of Divine Comedy: Inferno.
Full Review
50

L.A. Weekly

By Ella Taylor
Ruiz is so intent on harnessing the painter to his own -- here, rather arid -- relativism that he never manages to convey the unfettered eros that brings crowds flocking to exhibitions of Klimt’s work, even as critics hold their noses.
Full Review
50

Los Angeles Times

By Kevin Thomas
Klimt comes alive only fitfully at best, and it seems that for those occasional moments when it comes into focus there is an equal number that are merely silly.
Full Review
50

The New York Times

By Stephen Holden
The shortened version is lovely to look at, but the stilted dialogue and crude overdubbing in scenes where English is not spoken often make it an impenetrable hodgepodge.
Full Review
40

Variety

Billed as a phantasmagoria rather than a biopic, Klimt falls into the philosophical conundrum it attempts to resurrect -- whether portrait and allegory can coexist. Notwithstanding moments of great beauty, in this case the answer is clearly "no."
Full Review
25

San Francisco Chronicle

A good bio of any historical character has to have a compelling story, whether evil or good. Klimt appears to have had that story. I sure would have liked to know what it was.
Full Review
44 out of 100
Mixed or average reviews
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.