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Reviews provided by RottenTomatoes
Mary F. Pols, TIME Magazine: As good looking but shallow as its multiple leading men. Read more
Glenn Kenny, MSN Movies: The problem is with the three nested stories themselves, which...are treacly variations on what a not-too-inventive Nicholas Sparks enthusiast might imagine to be Hemingway-esque. Read more
Stephen Holden, New York Times: A clever, entertaining yarn that doesn't bear close scrutiny. Read more
Moira MacDonald, Seattle Times: You wish it were better than it is, simply because nobody ever makes literary thrillers these days. Read more
Nathan Rabin, AV Club: Though set in the literary world and among the suffering souls who populate it, The Words appears to be the work of people who have never actually read a book. Read more
Barbara VanDenburgh, Arizona Republic: A lush but fumbling literary melodrama outfitted with an attractive, generations-spanning cast and a puzzle box of three competing narratives. Read more
Wesley Morris, Boston Globe: I had planned to watch it, but there's nothing to see. Read more
Drew Hunt, Chicago Reader: The premise is ambitious -- if not a little hokey -- but the meager themes of ephemeral authorship and constructed realities aren't exactly revelatory. Read more
Michael Phillips, Chicago Tribune: Not bad. Read more
Chris Vognar, Dallas Morning News: Even with one story line and time frame too many, the movie conjures a mean Faustian bargain and leaves a classic dramatic question hanging in its air: What would you do if faced with similar circumstances? Read more
Tom Long, Detroit News: This is a film that's thoughtful and elegant, with just enough loose strings to keep things intriguing. Read more
Stephanie Zacharek, Film.com: Another actor might have made us feel something complicated for this troubled soul, but Cooper merely looks like the kind of guy who would steal another man's story. Read more
Betsy Sharkey, Los Angeles Times: It's a snooze. Read more
Randy Myers, San Jose Mercury News: It becomes preoccupied with exploring its fiction vs. reality theme and connecting the dots of its many plot strands at the expense of character development. Read more
Rene Rodriguez, Miami Herald: The Words is a movie about writing and books made by people who apparently rarely read. Read more
Stephen Whitty, Newark Star-Ledger: A mostly middling drama. Read more
Elizabeth Weitzman, New York Daily News: While it's no chore to watch so many appealing actors, it does feel like something of a waste to see them hemmed in by such flat material. Read more
Lou Lumenick, New York Post: Bradley Cooper's funniest movie since "The Hangover" - unfortunately, unintentionally this time ... Read more
Steven Rea, Philadelphia Inquirer: The Words resonates - richly, remarkably. Read more
James Berardinelli, ReelViews: For the most part, it's an adequate romantic drama orbiting an intriguing moral dilemma, but the decision to use a three-layered approach to tell the story makes little sense from a dramatic or narrative perspective. Read more
Roger Ebert, Chicago Sun-Times: I enjoyed the settings, the periods and the acting. I can't go so far as to say I cared about the story, particularly after it became clear that its structure was too clever by half. Read more
Amy Biancolli, San Francisco Chronicle: "The Words" is a decent, ambitious, unoriginal film about a decent, ambitious, unoriginal writer. Both aim for greatness. Both fall short. Read more
Dana Stevens, Slate: It would have been more fun if I'd brought something to throw at the screen. Read more
Christy Lemire, Associated Press: "The Words" leaves nothing to the imagination, smothering all these storylines in narration that spells out the actions we're seeing or emotions we could infer for ourselves. Read more
Colin Covert, Minneapolis Star Tribune: It reinforces the misconception that great works arrive in a burst of creativity brought on by a tragic love affair, ideally in Paris. Read more
Joe Williams, St. Louis Post-Dispatch: The fatal flaw of this screenwriting term paper is that Cooper's character is a boring jerk we're supposed to regard as a nice guy who made an honest mistake. Read more
Christopher Orr, The Atlantic: The story-within-a-story-within-a-story is so slight and inconsequential, like the tiniest of a set of Russian nesting dolls, that we may be forgiven for letting our minds wander toward bedtime and tomorrow's errands. Read more
Adam Litovitz, Globe and Mail: This film's layered storytelling lacks the fluidity, grace, or good humour, to pull off its conceit. Read more
Peter Howell, Toronto Star: What do we learn? That it's bad to steal the work and identify of other people. For this we need an oh-so-serious movie? Read more
A.A. Dowd, Time Out: By the time a grizzled Jeremy Irons saunters in, ready to dole out a comeuppance, perceptive viewers will have mentally flipped to the last page. Read more
Claudia Puig, USA Today: Writer/directors Brian Klugman and Lee Sternthal chose to make The Words as bland and obvious as its title, wringing out any subtlety or artistry. Read more
Melissa Anderson, Village Voice: Witlessly titled and executed... Read more
Jen Chaney, Washington Post: A well-acted but narratively limp indie that's undermined by a failure to connect emotionally with its audience. Read more