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Reviews provided by RottenTomatoes
Moira MacDonald, Seattle Times: The White Countess is never less than lovely to look at, and sometimes much more. Read more
Michael Wilmington, Chicago Tribune: It's a very classy, finely made film, and, as one watches it -- particularly those last sweeping scenes of political turbulence and escape -- one feels both pain at their parting and grateful for what, together, they achieved. Read more
Andrew Sarris, New York Observer: The film is well worth seeing for its performances, and for the aptness of Mr. Ivory's Sternbergian mise-en-scene. Read more
Mick LaSalle, San Francisco Chronicle: This is Merchant-Ivory's kind of showmanship, the unflashy adult variety of movie magic that they made their hallmark. Read more
Richard Roeper, Ebert & Roeper: The more I thought about it the more I appreciated the artistry and the intelligence behind this film. Read more
Richard Nilsen, Arizona Republic: The White Countess, although it has its share of Masterpiece Theatre moments, is another film to remind us just how cosmopolitan is the Merchant-Ivory filmography. Read more
Ty Burr, Boston Globe: Sumptuous to look at, tastefully dull, and ultimately rather silly, it whisks us to a far-off land -- the Shanghai expatriate community on the eve of World War II -- and strands us among cooked-up characters and emotions. Read more
Carina Chocano, Los Angeles Times: It throws them together early on but keeps their relationship at bay until the end -- when I, for one, was way past giving a kumquat. Read more
Amy Biancolli, Houston Chronicle: A rewarding close to the Merchant Ivory oeuvre. Read more
Peter Rainer, Christian Science Monitor: Fiennes's performance, tricky and impassioned, is the showpiece. Read more
Tom Long, Detroit News: A tale well told, a look at history in the making and those being shaken in the process. Read more
Owen Gleiberman, Entertainment Weekly: It's a pleasure to report that their swan song, written by Kazuo Ishiguro, is a gilded-canvas work of graceful and touching skill. Read more
Terry Lawson, Detroit Free Press: A tedious, overblown bit of business. Read more
Ella Taylor, L.A. Weekly: Where Shanghai should teem, it merely ambles. Read more
Jan Stuart, Newsday: A vaguely corny but sumptuously satisfying romantic drama that offers up heaps of everything we have come to depend on Merchant and Ivory for. Read more
Stephen Whitty, Newark Star-Ledger: Pushed to deliver the cry of anguish that sort of material demands, Ivory can only manage a whimper. Read more
Jack Mathews, New York Daily News: [Richardson's] complex performance as a woman balancing her dignity with her survival instincts is one of the year's very best. Read more
Roger Moore, Orlando Sentinel: It's a pretty journey, even if it is far too talky and emotionally distant to really work. Read more
Roger Ebert, Chicago Sun-Times: Fiennes and Richardson make this film work with the quiet strangeness of their performances. Read more
Colin Covert, Minneapolis Star Tribune: ... The White Countess is so bloodless it all but cries for a transfusion. Read more
Rick Groen, Globe and Mail: This last Merchant/Ivory film feels like a thin apparition of the team's best films -- similarly static but less substantial, less palpable, and sadly less respectable, just the vestigial remains of a better day. Read more
Susan Walker, Toronto Star: Political intrigue, the thriving jazz-era nightclub scene and the breakdown of the class system within a city in turmoil should have yielded more engaging scenarios. Read more
Ed Park, Village Voice: Irredeemably dull. Read more
Stephen Hunter, Washington Post: Despite its brilliant evocation of this great city at this most provocative time in history, the movie just gets sillier and sillier. Read more