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Critic scores range from 0 to 100, with higher scores indicating more favorable reviews.
It's a very classy, finely made film, and, as one watches it -- particularly those last sweeping scenes of political turbulence and escape -- one feels both pain at their (Merchant-Ivory) parting and grateful for what, together, they achieved. Read full review
I don't think it's too much of a stretch to say that this oasis of romance amid the turmoil of Shanghai represents the way that Merchant and Ivory, for 40 years, saw themselves: as a sanctuary of calming, life-size taste in a movie culture grown coarse. It was often far from perfect, but I'll miss that sanctuary. Read full review
Fiennes and Richardson make this film work with the quiet strangeness of their performances; if they insist on their eccentricities, it's because they've paid them off and own them outright. Read full review
The film takes a long time to unfold, and some scenes feel inert. But ultimately, the conclusion is moving and satisfying. Read full review
The director has staged the elaborate production in his usual stately but impressive manner, and the production values boast the usual Merchant/Ivory stamp of quality. Read full review
As with so many Merchant-Ivory films, The White Countess glides along on restrained, skillful performances and tapestry-rich cinematography, but its beating heart lies deep below the surface, where only determined viewers will find it. Read full review
The White Countess takes place in a fascinating time and place, rife with conflict and turmoil. But to watch Fiennes float (and Richardson trudge) through it all, absorbed in themselves and their own private misery, is to wish they'd started falling earlier, if only to knock some sense into them. Read full review
With its tentative pace, fussy, pieced-together structure and stuffy emotional climate, The White Countess never develops any narrative stamina. Read full review
This final production from the team of James Ivory and the late Ismail Merchant is itself adrift in more ways than one, with a literate but meandering script by "The Remains of the Day" novelist Kazuo Ishiguro that withholds emotional payoffs to an almost perverse degree. Read full review
Alas, The White Countess, the final Merchant Ivory film, is something of a lacquered dud. Read full review
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