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Reviews provided by RottenTomatoes
Moira MacDonald, Seattle Times: The movie has an immense charm that sneaks up on you. Ultimately, it's a delicate ode to love and honor -- and to writing and reading. Read more
J. R. Jones, Chicago Reader: This never rises above a date movie, but it's functionally literate (the lovers have some pleasant banter about the realistic merits of Tom Jones) and features a fine supporting turn from Ian Richardson. Read more
Joanne Kaufman, Wall Street Journal: Austen comes off here more as stenographer than writer. Read more
Scott Tobias, AV Club: After the invigorating cinematic brio of 2005's Pride And Prejudice, it's disheartening to see the Austen brand retreat back into Costume Drama 101... Read more
Annemarie Moody, Arizona Republic: ...a beautifully directed film from Julian Jarrold that draws as much strength from the depiction of the 18th-century English countryside (Ireland, actually) as from the performances of Anne Hathaway as Austen and James McAvoy as Tom Lefroy. Read more
Ty Burr, Boston Globe: Deeply pleasing in a connect-the-literary-dots manner. Read more
Carina Chocano, Los Angeles Times: The mixing of vague historical anecdote and pure Hollywood fantasy don't quite mix. Read more
Bruce Westbrook, Houston Chronicle: The film seduces. Beautifully produced, from production design and costumes to music and performances, it's also faithful to the genteel spirit and repressed passions for which she's known. Read more
Peter Rainer, Christian Science Monitor: Becoming Jane has its felicities...McAvoy and Hathaway work well together despite being saddled with dialogue that is not remotely in Austen's league. But then again, what is? Read more
Lisa Kennedy, Denver Post: This 'haven't we seen this before?' sensibility is anything but a downside. It's the draw of director Julian Jarrold's good-looking, entirely pleasant revel. Read more
Owen Gleiberman, Entertainment Weekly: Has a burnished feminine sadness, and the director, Julian Jarrold, gives it a creamy-dark visual flow. Read more
Terry Lawson, Detroit Free Press: Explains Austen's art simply and neatly: too simply, in fact, to do justice to such a brilliant observer of social manners and hypocrisies and weaver of complex, romantic moral tales. Read more
Ella Taylor, L.A. Weekly: For realism's sake, Jarrold checks in with the usual muddy hems, misty green fields and chickens clucking underfoot. And if youa(TM)re an Austen reader you can have an okay time just playing I-Spy Pride and Prejudice... Read more
Gene Seymour, Newsday: Hathaway is too good an actress not to deliver more than just a grand star turn and she's able to carry the story of Austen's. Read more
Anthony Lane, New Yorker: Once you admit that the Jane Austen depicted onscreen bears scant relation to any person named Jane Austen, living or dead, the film fulfills its purpose. Read more
David Edelstein, New York Magazine/Vulture: Anne Hathaway has learned to ease up on the mugging and let us come to her. She's no Jane Austen, but she's got the gumption of an Austen heroine. Read more
Stephen Whitty, Newark Star-Ledger: The film is still charming enough, both for its performances and its lovely look at Jane Austen's most devoted suitor of all -- a pristine page, begging her attention, wanting nothing but her words. Read more
Elizabeth Weitzman, New York Daily News: We can't quite shake the feeling we've seen this all done before, and better. Read more
Kyle Smith, New York Post: Unlike an Austen story, Becoming Jane doesn't suffer from a predictable third act, and the characters aren't quite so schematic. Read more
Andrew Sarris, New York Observer: Becoming Jane is not as good as the best Austen films, but is much better than most mainstream movies on tap. Read more
Roger Moore, Orlando Sentinel: The script's lively, modern points of departure give it a few surprises. Read more
Steven Rea, Philadelphia Inquirer: [A] moderately engaging pseudo-Brit-lit piffle. Read more
James Berardinelli, ReelViews: Unfortunately, lead actress Anne Hathaway is not suited to the role. Her Jane doesn't seem like the main character in her own story. Read more
Roger Ebert, Chicago Sun-Times: The director, Julian Jarrold, is comfortable with the material, and it is comfortable with him. Read more
Stephanie Zacharek, Salon.com: Was Austen really a smarter, feistier Carrie Bradshaw in more sensible shoes, longing for love even as she failed to hang onto it? Becoming Jane would have been more honest if it had been called No Sex in the Country. Read more
Mick LaSalle, San Francisco Chronicle: There's a lot to recommend Becoming Jane, particularly the performances. Hathaway does more than survive. If she doesn't seem like a literary genius, she at least seems like a worthy Austen heroine -- intelligent, independent and brave. Read more
Liam Lacey, Globe and Mail: The story quickly slips into Austen formula. Read more
Peter Howell, Toronto Star: [McAvoy] and Hathaway simply aren't given much to do together, and they have two long hours to do it in. Screenwriters Kevin Hood and Sarah Williams seem reluctant to risk the ire of Austenites. Read more
Richard Schickel, TIME Magazine: Hathaway never makes us think the woman could write anything more complex than a diet book. Read more
Trevor Johnston, Time Out: It's a classy package, all right - just missing the extra spark. Read more
Derek Elley, Variety: A finely tooled Brit-lit costumer that, like Anne Hathaway's flawless accent as the young Austen, lacks only that final convincing 5%. Read more
Stephen Hunter, Washington Post: If Becoming Jane is a little light in the head, it gives Anne Hathaway a chance to show herself off more delightfully than she did in The Devil Wears Prada. Read more