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Reviews provided by RottenTomatoes
Amy Nicholson, Boxoffice Magazine: Swank has fun in the role - I haven't seen her smile this much in years - but she isn't given much complicated to do besides frustrate her friends when she digs in her heels. Read more
A.O. Scott, At the Movies: Wwhy does such an exciting life make such a dull movie? Read more
Michael Phillips, Chicago Tribune: A director can do only so much with a script...that feels like it's on the runway, waiting, even when it's up in the air. Read more
Keith Uhlich, Time Out: Told in final-flight flashback (naturally) with cumulus cloud scene wipes (of course!), Earhart's life is reduced to a series of solemnized wide-screen tableaux populated by locale-specific extras acting as starstruck filler. Read more
David Edelstein, New York Magazine/Vulture: It's all so glancing and superficial that the movie doesn't seem to have a present tense. It goes by like coming attractions. It is, however, a treasury of bad biopic dialogue. Read more
Joe Morgenstern, Wall Street Journal: Amelia leaves you wondering how its abundantly gifted director, Mira Nair, and its Oscar-winning star, Hilary Swank, could have been complicit in such clumsiness. Read more
Moira MacDonald, Seattle Times: Amelia is a conventional, competent and often very pretty film; it's just never as interesting as the woman at its center. Read more
Sam Adams, AV Club: [Swank is] so constrained by mannerisms that she never gets beyond the character's surface -- although to be fair, trying to import feeling into the movie's stilted dialogue is like trying to fly a plane blindfolded. Read more
Ty Burr, Boston Globe: Read more
Betsy Sharkey, Los Angeles Times: History can weigh heavily on a filmmaker, and that is what happens with Amelia, a disappointing rendering of the remarkable life of Amelia Earhart. Read more
J. R. Jones, Chicago Reader: With any luck this biopic of Amelia Earhart will also vanish without a trace. Read more
Peter Rainer, Christian Science Monitor: Read more
Lisa Kennedy, Denver Post: The movie is as conventional a biopic as Earhart was an unconventional woman. Read more
Lisa Schwarzbaum, Entertainment Weekly: Amelia is a frustratingly old-school, Hollywood-style, inspirational biopic about Amelia Earhart that doesn't trust a viewer's independent assessment of the famous woman pictured on the screen. Read more
David Germain, Associated Press: Swank and Nair play it safe to the point of benumbing this woman's life, leaving Earhart as remote and muted as she is in the black-and-white photos and news footage of the aviator included at the film's end. Read more
Nick Pinkerton, L.A. Weekly: Period details, from 1928 to 1937, are so cliched that someone might as well announce onscreen, "Gosh, these '20s certainly are Roaring!" Read more
Connie Ogle, Miami Herald: Its portrayal of Earhart's drive and fearlessness never really gets to the heart of this bold, driven individual or explains why she needed so badly to break beyond Earth's boundaries. Read more
David Denby, New Yorker: Amelia is handsome yet predictable and high-minded -- not a dud, exactly, but too proper, too reserved for its swaggering subject. Read more
Stephen Whitty, Newark Star-Ledger: Who was Amelia Earhart, really? It's a good question. Unfortunately, it's one beyond Amelia. Read more
Bob Mondello, NPR: Swank's resemblance to Earhart is uncanny, but the result is verisimilitude without engagement %u2014 a risk-taker's story told entirely without narrative risk, and a movie that consequently never takes flight. Read more
Joe Neumaier, New York Daily News: His embalmed drama is a ghost from the '80s, a decade that regularly produced surprise-free, caramelized biopics. The airless Amelia is missing practically everything. Read more
Lou Lumenick, New York Post: The film discreetly tiptoes around rumors of Earhart's reputed bisexuality ("Maybe at one time," she says) and her relationship with aviation pioneer Gene Vidal (Ewan McGregor impersonating a department-store dummy). Read more
Rex Reed, New York Observer: It has beautiful cinematography, a star performance that is shocking in its authenticity, a careful eye for nuance and detail and an irresistible blend of action and romance that should spell automatic success. Read more
Roger Moore, Orlando Sentinel: Amelia earns a pass, corny as it sometimes is. The lady earned her wings, and Swank, especially, more than does right by both the woman and the legend. Read more
Carrie Rickey, Philadelphia Inquirer: Though this traditional story about a defiantly nontraditional woman doesn't always soar, it fits Hilary Swank, its producer/star, like a jumpsuit. She and Nair thrill to the life of this American who broke records, hearts, and boundaries. Read more
Roger Ebert, Chicago Sun-Times: Amelia is a perfectly sound biopic, well directed and acted, about an admirable woman. Read more
Peter Travers, Rolling Stone: "Who wants a life imprisoned in safety?" Amelia asks in a voice-over. And you want to shout, "This movie does, honey." There's not a real or spontaneous minute in it. Read more
Tom Huddlestone, Time Out: Inoffensive, arcane and ultimately rather sweet, 'Amelia' is one to take your grandmother to. Read more
Mick LaSalle, San Francisco Chronicle: Director Mira Nair dresses that up with visual grace, with shots of clouds and sky that are beautiful and elusive enough to escape the tinge of cliche. But the basic bones of the story are the problem here. Read more
Dana Stevens, Slate: Directed by Mira Nair and executive-produced by its star Hilary Swank, the movie seems oddly preoccupied with the audience's approval for its subject. Read more
Joe Williams, St. Louis Post-Dispatch: Although Amelia is too conventionally constructed to attain the heights of Martin Scorsese's "The Aviator," the cinematography and Depression-era props are splendid. Swank, of course, is too. Read more
Rick Groen, Globe and Mail: Seldom has a bio's style clashed so deafeningly with its content. Read more
Peter Howell, Toronto Star: Courting Oscar with unseemly lust, while also promoting Earhart as an early feminist, the film strives too hard to be profound and not enough to be merely human. Read more
Mary F. Pols, TIME Magazine: It leaves the odd impression of being merely a very long trailer for a film you'd actually love to see. Read more
Claudia Puig, USA Today: Amelia goes airborne but never fully soars. It's hampered by a too-reverential portrait of the record-breaking aviator. Read more
Justin Chang, Variety: To say that Amelia never gets off the ground would be an understatement; it barely makes it out of the hangar. Read more
Michael O'Sullivan, Washington Post: Look, nobody's asking for a miniseries here, but at times the movie feels more like a History Channel documentary -- respectful to the point of reverential -- than a rip-snorting yarn. Read more