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Reviews provided by RottenTomatoes
Glenn Lovell, San Jose Mercury News: Thank goodness for Nivola ... who makes a charming degenerate, and McDormand in her sexiest role to date. They make up for a bunch of sins. Read more
Wesley Morris, Boston Globe: [A] tame exercise in hedonism and self-discovery. Read more
Rene Rodriguez, Miami Herald: The movie's contrivances begin to rankle. Read more
Richard Roeper, Ebert & Roeper: Frances McDormand isn't just good, she's fantastic in this movie. Read more
Moira MacDonald, Seattle Times: It's a pleasant, good-natured film that's easy to enjoy. Read more
Loren King, Chicago Tribune: An engaging, entertaining glimpse into the lives of musicians nestled in the titular Hollywood Hills enclave. Read more
Stephen Holden, New York Times: It reconfirms the filmmaker's talent as an acutely observant chronicler of upscale bohemian subcultures. Read more
Joe Morgenstern, Wall Street Journal: Read more
Manohla Dargis, Los Angeles Times: There wasn't a moment in the film that I didn't enjoy, but neither was there anything that got my mind or heart racing. Read more
Eric Harrison, Houston Chronicle: Laurel Canyon's end isn't entirely satisfying, but the story works. Read more
Vic Vogler, Denver Post: Never reaches the bar it sets for itself. Read more
Lisa Schwarzbaum, Entertainment Weekly: The characters are tedious, as are the fussy performances of Bale and Beckinsale. Read more
Liam Lacey, Globe and Mail: Plays out like a slow-motion sex farce. Read more
Jane Sumner, Dallas Morning News: More obvious and superficial with, except for Ms. McDormand, rather soapy and cartoonish elements. Read more
Mark Olsen, L.A. Weekly: Relies on easy caricature over true character such that the film fails to build emotional momentum or resonance. Read more
Jan Stuart, Newsday: [McDormand] makes both the character and her Laurel Canyon sanctuary feel genuinely lived. Read more
Rex Reed, New York Observer: It has power above and below the waist, and proves that not all the navels in L.A. are in the oranges. Read more
Andrew Sarris, New York Observer: What rescues this situation from the formulaic banality it seems to be headed toward is the seriousness with which the filmmakers take the actual work being done by the various characters. Read more
James Berardinelli, ReelViews: Comes across pretty much as a pretentious soap opera -- a movie that wants the audience to believe it has more to say about life than the usual melodrama. Read more
Roger Ebert, Chicago Sun-Times: Too stilted and pre-programmed to come alive. Read more
Stephanie Zacharek, Salon.com: Laurel Canyon may be more a vibe than a movie. And that's precisely its power. Read more
Mick LaSalle, San Francisco Chronicle: A flawed but smart independent film whose virtues outweigh its flaws, and whose virtues are distinct. Read more
Jeff Strickler, Minneapolis Star Tribune: Fizzles out in the third act, but we're long past caring. By then, Frances McDormand has usurped the movie and turned it into a lesson in character acting. Read more
Peter Howell, Toronto Star: [Cholodenko's] smart script and sensitive directing make up for sluggish pacing, the picture's one major flaw. Read more
Claudia Puig, USA Today: All the performances are strong, but McDormand, Bale and Nivola's are most powerful. Read more
J. Hoberman, Village Voice: The spectacle of pretty people floating languidly across the screen notwithstanding, Laurel Canyon is short on conviction and long on contrivance. Read more
Ann Hornaday, Washington Post: If there is one reason to see Laurel Canyon, it's to witness McDormand in the kind of role she's long deserved. Read more