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Reviews provided by RottenTomatoes
Connie Ogle, Miami Herald: Instead of turning her inside out, Coppola illustrates just how ordinary she was and how her insular world prevented her from understanding the events that eventually would end her life. Read more
Moira MacDonald, Seattle Times: Little happens for much of Marie Antoinette, but Coppola is a visual storyteller, and with her first big canvas she creates a giddy world at Versailles in color and light. Read more
Jessica Reaves, Chicago Tribune: Insouciant but never cavalier, Coppola's latest effort should prove definitively she's a talent in her own right. Read more
Christy Lemire, Associated Press: [Coppola] transports you to a place you've never been, makes you feel a sensation that's familiar, yet leaves you different than you were two hours earlier. Read more
David Edelstein, New York Magazine/Vulture: This is one of the most immediate, personal costume dramas ever made, and so it's not unseemly to consider how the writer-director and her heroine overlap. Read more
Andrew Sarris, New York Observer: Ms. Coppola and her colleagues have also taken an anachronistic approach to her material with an anarchic pop-music score suggesting the complacent spirit of a contemporary spoiled teenager infatuated with the glistening surfaces of her generation. Read more
Rex Reed, New York Observer: The overwrought director sees Marie as France's most misunderstood monarch, but provides nary one sane member of the court who misunderstands her. Read more
J. R. Jones, Chicago Reader: The movie falls apart when the peasants storm the palace in 1789, an event completely outside Coppola's frame of reference -- at least until the Cannes premiere. Read more
Joanne Kaufman, Wall Street Journal: Marie Antoinette, which was shot at Versailles, looks absolutely sumptuous, but is, ultimately as substantial as a bonbon. Read more
Richard Roeper, Ebert & Roeper: It's very pretty and occasionally amusing but also dreadfully dull for long, long stretches. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: The prettiest movie of the year so far, Marie Antoinette is also one of the most thrillingly original. Read more
Bill Muller, Arizona Republic: A largely static, desperately pseudo-hip attempt to reconstruct the events leading up to the French Revolution from the vantage point of a 1980s punk rocker. Read more
Wesley Morris, Boston Globe: Given Coppola's fashion-first approach, it's a miracle the film doesn't feel more like a long perfume ad. But the movie has atmosphere, beauty, spirit, and exquisite production design, photography, and editing. Read more
Carina Chocano, Los Angeles Times: A startlingly original and beautiful pop reverie that comes very close to being transcendent. Read more
Amy Biancolli, Houston Chronicle: There's not much meat at this banquet, only sweets. Read more
Peter Rainer, Christian Science Monitor: What's surprising is that, by the end, Marie Antoinette, for all its folderol, is quite touching. Read more
Michael Booth, Denver Post: The result is a silly piece of costume jewelry called Marie Antoinette, and no, the soldering of a new-wave-revival soundtrack with 18th-century Versailles is not interesting enough to save this bauble. Read more
Tom Long, Detroit News: She was born into fabulous wealth and fame. By the time she was a teenager, her name was well-known to both the public and the well-to do. So is it any wonder Sofia Coppola wanted to do a movie about Marie Antoinette? Read more
Lisa Schwarzbaum, Entertainment Weekly: The work of a mature filmmaker who has identified and developed a new cinematic vocabulary to describe a new breed of post-postpostfeminist woman. Read more
Terry Lawson, Detroit Free Press: Although it is purposely devoid of substance, it is still devoid of substance. Read more
Tom Maurstad, Dallas Morning News: The movie ends as it started, with Marie in a carriage, unaware of the fate we know awaits her. It's the last in a long line of things the movie neither shows or tells us. Read more
Ella Taylor, L.A. Weekly: Coppola's script is comic-book silly ('We're too young to reign'), and she has studded the movie with miscast talent. Read more
Gene Seymour, Newsday: Perhaps Marie Antoinette can best be appreciated in the haphazard way you savor a pop song that's about nothing beyond its own expression of energy and flash. Read more
Stephen Whitty, Newark Star-Ledger: Dazed and confused, it feels like a teenager's diary, read aloud over some awesome mixtape. Read more
Jack Mathews, New York Daily News: Dunst plays Marie Antoinette as if she's seen the future and it's Paris Hilton. Read more
Roger Moore, Orlando Sentinel: This is just a lark, a heavy-handed one without the heart of even the bad histories which gave us a Marie who said (as she never did) Let them eat cake. Read more
James Berardinelli, ReelViews: This is a movie that never gets to the point, perhaps because it doesn't recognize what the point is. Read more
Roger Ebert, Chicago Sun-Times: Every criticism I have read of this film would alter is fragile magic and reduce its romantic and tragic poignancy to the level of an instructional film. Read more
Mick LaSalle, San Francisco Chronicle: Coppola's queen experiences no inner transformation or redemption because, in this telling, she's in no need of it. She's cool to begin with. Read more
Dana Stevens, Slate: Just because the film's heroine has nothing to say about politics, revolutionary or otherwise, doesn't justify Coppola being similarly dumbstruck. Read more
Colin Covert, Minneapolis Star Tribune: Coppola's film is a superior achievement, a story as rich and resonant as its protagonist is hollow. Read more
Rick Groen, Globe and Mail: Here's one thing about Marie Antoinette: It sure is easy to watch. And here's another: It's even easier to forget. Read more
Susan Walker, Toronto Star: The director squanders a once-in-a-lifetime opportunity to film on the grounds and inside the Palace of Versailles. It's the trappings we get, in richly reproduced costumes and all-over gilt furniture, at the expense of any substance. Read more
Dave Calhoun, Time Out: Is it possible to make a film that evokes both Barry Lyndon and National Lampoon's European Vacation? Sofia Coppola has had a decent stab at it. Read more
Claudia Puig, USA Today: Though Dunst looks the part and stunningly carries off foot-high powdered wigs and lavish costumes, her flat affect and simpering voice don't conjure up the requisite sense of arrogant power, corruption and narcissism. Read more
Todd McCarthy, Variety: Let them have eye candy pretty much sums up Sofia Coppola's approach to her revisionist and modernist take on the famous royal airhead who in the end lost her head. Read more
J. Hoberman, Village Voice: A graceful, charming, and sometimes witty confection -- at least for its first hour. Read more
Ann Hornaday, Washington Post: Coppola brilliantly conjures the young queen's insular world, in which she was both isolated and claustrophobically scrutinized. While not celebrating Marie Antoinette's reign, Coppola clearly sympathizes with a girl who was less heedless than naive. Read more