Metacritic Movie Ratings
Marie Antoinette Reviews

A sample of reviews from critics across the country.

• 100

  out of 100

  Chicago Sun-TimesRoger Ebert

  Kristen Dunst is pitch-perfect in the title role.

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• 90

  out of 100

  Los Angeles TimesCarina Chocano

  Marie Antoinette gives a wide berth to the conventions of period dramas, especially their time-capsule remove, and instead tries to mainline the singular personal experience of the arch-villainess of French history (and freedom history, for that matter). The result is a startlingly original and beautiful pop reverie that comes very close to being transcendent.

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• 83

  out of 100

  Entertainment WeeklyLisa Schwarzbaum

  Coppola's stranded royal suggests that at heart, Marie Antoinette was just a simple girl who wanted to have fun, and got her head handed to her.

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• 80

  out of 100

  The New York TimesA.O. Scott

  A thoroughly modern confection, blending insouciance and sophistication, heartfelt longing and self-conscious posing with the guileless self-assurance of a great pop song. What to do for pleasure? Go see this movie, for starters.

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• 80

  out of 100

  The Hollywood ReporterKirk Honeycutt

  In the revisionist Marie Antoinette, writer-director Sofia Coppola and actress Kirsten Dunst take a remote and no doubt misunderstood historical figure, the controversial and often despised Queen of France at the time of the French Revolution, and brings her into sharp focus as a living, breathing human being with flaws, foibles, passions, intelligence and warm affections.

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• 60

  out of 100

  VarietyTodd McCarthy

  It is far from unpleasant to watch an attractive cast led by Kirsten Dunst parading around Versailles accoutered in Milena Canonero's luxuriant costumes to the accompaniment of catchy pop tunes. But the writer-director's follow-up to her breakthrough second feature, "Lost in Translation," is no more nourishing than a bonbon.

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• 50

  out of 100

  USA TodayClaudia Puig

  With its ho-hum performances, muddled point of view, inert plot and pedestrian writing, all that's left to appreciate are the sumptuous costumes, elaborate hairstyles and rococo production design, which are not enough to sustain any movie, even one set in the gilded splendor of Versailles.

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