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Reviews provided by RottenTomatoes
Peter Hartlaub, San Francisco Chronicle: An unpolished but entertaining tragedy filled with outstanding performances and memorable moments. Read more
Richard Roeper, Ebert & Roeper: I still thought there were enough good performances, great visuals, and an interesting examination of a lifestyle in a way that we haven't seen a lot of times in movies for me to recommend it. Read more
Ty Burr, Boston Globe: Christopher Scott Cherot's drama is an honorable attempt laid low by a verbose script, cheap production values, and a general tendency toward soap opera. Read more
Allison Benedikt, Chicago Tribune: The filmmakers are going for something operatic here with their mix of love and loss, rap and race. They miss. By a lot. Read more
Gregory Kirschling, Entertainment Weekly: Another strikeout, further destroying F. Scott Fitzgerald's film batting average. Read more
Stephen Whitty, Newark Star-Ledger: We beat on, boats against the current, borne back ceaselessly into the sha-fizzle-dizzle. Read more
Elizabeth Weitzman, New York Daily News: The women are shrewishly materialistic, the men are manipulative or violent and the Polo wardrobes look fabulous on everyone. It's an ugly affair overall, but at least you can say you've never seen such beautiful shirts. Read more
Laura Kern, New York Times: The decadent world of Hamptonite hip-hop moguls is a fitting backdrop for this somewhat faithful but not very graceful retelling of F. Scott Fitzgerald's 'Great Gatsby.' Read more
Roger Moore, Orlando Sentinel: You should never make a movie about boundless, conspicuous wealth on an indie budget. Read more
Roger Ebert, Chicago Sun-Times: The problem with G is not merely that the ending doesn't work and feels hopelessly contrived. It's also that the plot adds too many unnecessary characters and subplots, so that the main line gets misplaced. Read more
Scott Foundas, Variety: In nimbly sidestepping the burden of textual fidelity, director Christopher Scott Cherot's freeform Fitzgerald riff captures the novel's sense of unrequited yearning better than any of Hollywood's more slavishly faithful attempts. Read more
Peter L'Official, Village Voice: No green light but the one mistakenly given to start production. Read more
Ann Hornaday, Washington Post: [It] would be a fascinating exercise -- both artistic and anthropological -- if one word of G were authentic, artful or even borderline believable. Read more