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Reviews provided by RottenTomatoes
Connie Ogle, Miami Herald: The barbs fly with zest and impeccable comic timing in A Good Woman. Read more
Moira MacDonald, Seattle Times: A Good Woman suffers from a staggeringly bad miscasting of its central role and from a cut-and-paste screenplay that substitutes random insertions of Wilde epigrams for character. Read more
Michael Phillips, Chicago Tribune: A Good Woman has the will to adapt Wilde to a fresh milieu, but not the way. Read more
Mick LaSalle, San Francisco Chronicle: Something is wrong with A Good Woman: The lightning never strikes. It's never quite alive. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: A stunning setting, clever dialogue, gorgeous period costumes by John Bloomfield (he did last year's Being Julia) and a honey of a performance by Wilkinson as a practical man of great means who sees nothing wrong in being wanted for his money. Read more
Bill Muller, Arizona Republic: All the fun in A Good Woman occurs off in the corners, while the action in center-frame does little to capture your fancy. Read more
Ty Burr, Boston Globe: A Good Woman above all lacks the joyful, lucid anger that lights up Wilde's plays -- the sense that beneath the witticisms he's telling it like it is to people who aren't used to hearing it. Read more
Kevin Crust, Los Angeles Times: A Good Woman won't ruin anyone's day, but it won't make anyone's either, and it won't get the great Irish playwright anything like the admiration his work deserves. Read more
Bruce Westbrook, Houston Chronicle: For those in the mood for love, A Good Woman is more than good. It's one of the best films of the new year. Read more
Peter Rainer, Christian Science Monitor: [Tom] Wilkinson artfully deepens a character who in Wilde's original play was rather boobish. It's a marvelous performance in a pretty good film. Read more
Lisa Schwarzbaum, Entertainment Weekly: An unsorted pile of misappropriated period-piece conventions. Read more
Terry Lawson, Detroit Free Press: Rarely have so many regularly employed professionals created something so utterly undistinguished as A Good Woman. Read more
Mario Tarradell, Dallas Morning News: For the eyes, it's a cinematic banquet filled with the colors, wardrobe and scenery of 1930s Italy. For the mind, it's a sleek, intelligent story about love and money. Read more
Ella Taylor, L.A. Weekly: Wilde himself would have rolled his eyes at Mike Barker's shallow effort to spiff up the play for transatlantic markets. Read more
Gene Seymour, Newsday: The movie's attempt to update the play from Victorian England to 1930s Italy is so clumsy, tedious and pleased with itself that you wish Wilde himself would return from the dead to fire a few cogent, lethal bon mots at its backside. Read more
Stephen Whitty, Newark Star-Ledger: Wilde isn't supposed to be lovely, or charming. He's supposed to be funny, wicked, rude and as full of serious feeling as a lavender butterfly. Read more
Jack Mathews, New York Daily News: Besides the consuming, universal glibness of its characters, A Good Woman is also undermined by some ditsy casting. Read more
James Berardinelli, ReelViews: Although the narrative of A Good Woman exists primarily as an excuse for Wilde's dialogue, it works well enough to satisfy in its own right. Read more
Liam Lacey, Globe and Mail: ... willfully odd movie ... Read more
Peter Howell, Toronto Star: Read more
Claudia Puig, USA Today: The source material and supporting actors make A Good Woman a fairly good movie. But the performances by Helen Hunt as an aging seductress and Scarlett Johansson as a young bride are closer to mediocre. Read more
Jessica Winter, Village Voice: This Good Woman is an amiable drama queen, sluggish of gait and reliant on retail therapy. Read more
Stephen Hunter, Washington Post: A clever rearranging of Oscar Wilde's first great play, Lady Windermere's Fan. Read more