"Beloved" is at once whimsical and heartfelt, alive to the absurdity and perversity of amorous behavior and also to the gravity and intensity of human emotions.
A.O. Scott - New York Times
For me, the brooding Garrel is pretty insufferable, but his mannerisms are at least reasonably in check here.
Peter Bradshaw - Guardian [UK]
Somehow manages to feel sprawling and epic, while at the same time presenting an intimately observed view of two women's love lives.
Michael O'Sullivan - Washington Post
Honore's a genuinely gifted eccentric of a filmmaker, but on the evidence of "Beloved," he could use a nap.
Ty Burr - Boston Globe
A sprawling mess of multiple romantic triangles in which all the angles are obtuse.
Melissa Anderson - Village Voice
The plot of "Beloved," I'm afraid, may try your patience.
Roger Ebert - Chicago Sun-Times
Characters traipse around city streets singing 60s-style pop tunes in this ungainly, overconceived musical.
J. R. Jones - Chicago Reader
It's a film full of turbulence and passion, as a mother and daughter embark on their separate journeys - their pasts and futures, their happiness and sorrow, intertwined.
Steven Rea - Philadelphia Inquirer
The carefree love life of a 1960s French mother is daringly juxtaposed with the amorous travails of her daughter several decades later in Beloved.
Boyd van Hoeij - Variety
Lung cancer, coronary thrombosis and French pop music: Two of these things will kill you, but the third will make you wish you were dead.
Kyle Smith - New York Post
"Beloved" is both broody and bright, steeped in amour in all its Gallic permutations - mad, destined, unrequited, sustaining.
Sheri Linden - Los Angeles Times
A bit heavy-handed when the tone of the piece isn't wavering uneasily between light and dark.
Richard Knight - Knight at the Movies
The film as a whole is a lugubrious French-pop disaster.
Tricia Olszewski - Washington City Paper
Mining the French New Wave for material and inspiration invites death by comparison.
James Verniere - Boston Herald
Honore's melodramatic excesses are tempered by the subtle performances of his leading ladies.
Betsy Sherman - Boston Phoenix
What starts out as a perky musical, slides downward into a morass of misplaced romantic desires over the course of four decades.
Cole Smithey - ColeSmithey.com
To see Deneuve singing in a train station again cannot help but recall "The Umbrellas of Cherbourg" and Jacque Demy's film is honored as well in Alex Beaupain's songs with lyrics which propel the story encased in breezy pop tunes.
Laura Clifford - Reeling Reviews
Skips around the decades, taking a minimalist approach to history - mostly by demonstrating how recent traumatic events have inconvenienced the love lives of its central characters.
John Hartl - Seattle Times
Story, structure, and dialogue deflate whatever fizzy sexiness the actors try to inject.
Kelly Vance - East Bay Express
The songs may not be particularly memorable; however, they serve their purpose in bolstering the emotional drive of the piece, and the film's effect would be neither as unique nor as lasting had they not been there.
Michael Dequina - TheMovieReport.com
Well-acted and initially refreshing, but uneven, unfocused and too long.
Avi Offer - NYC Movie Guru
This second-rate Jacques Demy homage crisscrosses multiple continents, nationalities, generations, decades and some key historic events in a helter-skelter romantic musical as odd as it is confusing and corny.
Doris Toumarkine - Film Journal International
"Beloved" has a big spirit and, somewhere along the line, it becomes a big film.
Mick LaSalle - San Francisco Chronicle
This stylish film is enormous fun, whirling and warbling across four decades of amour.
Mark Jenkins - NPR
Beloved is a tenderly sincere musical that celebrates love even as it acknowledges the ways in which it can sometimes lead to tragedy.
Alison Willmore - AV Club
Low-calorie stories about two women who are unlucky in love.
Frederic and Mary Ann Brussat - Spirituality and Practice
Ultimately crammed at a frustrating juncture between period-piece froth and seriously conceived drama, never tipping its hand toward either.
Jesse Cataldo - Slant Magazine
"Your charm is quickly fading," quips one character to another. You'd think she was speaking to someone behind the camera.
David Fear - Time Out New York
The main reason to see this French romantic melodrama is its glorious cast, headed by Catherine Deneuve and real-life daughter Ciara Mastroianni.
Emanuel Levy - EmanuelLevy.Com
Opening as a light, bright tale of romance, the musical-drama becomes increasingly complex and portentous.
Harvey S. Karten - Compuserve
Honore's heartbreaking, gloriously directed and performed musical suggests that this most hipsterish and Parisian of French filmmakers is best when he sets his stories to song.
Jon Frosch - The Atlantic
Those who like Beloved will file it under guilty pleasures.
Philip French - Observer [UK]
A melancholy French musical that stretches across four decades and several continents.
Allan Hunter - Daily Express
The casting of Deneuve, the star of Umbrellas, and her daughter, by Marcello Mastroianni, give their all and are a major part of the film's allure.
Derek Malcolm - This is London
It feels like a vanity project, and it doesn't help that the songs - tremulous, world-weary and melancholy - sound much the same despite the changing times.
David Gritten - Daily Telegraph
Christophe Honore's delivers on his promises and provides a captivating film that just needs the fat trimming.
Joe Walsh - Little White Lies
A sprawling, messily ambitious epic of unrequited love and unfulfilled hearts that is lent an added poignancy by the casting of Mastroianni's mother Catherine Deneuve as the older Madeleine and by all the cinematic ghosts that accompany her appearance.
Allan Hunter - The List
An emotionally engaging French drama with strong performances and catchy songs, though it occasionally dips too far into melodrama and its unnecessarily lengthy running time eventually takes its toll.
Matthew Turner - ViewLondon
Alex Beaupain's songs effectively convey emotion, but Beloved doesn't scale the heights of the Truffaut and Demy films it pastiches.
Tom Dawson - Total Film
The early scenes with Sagnier have real verve, and Honore handles his first few shifts in time well, but ennui sets in with yet another chapter bringing songs of decreasing quality and events of increasing tiresomeness.
Dave Calhoun - Time Out
Christophe Honore goes epic in a tale of interlocking lives that owes a debt to Jacques Demy. It won't be to everyone's taste but it's playful enough to win us over.
David Hughes - Empire Magazine
Beloved veers too wildly into the 'bitter' and the 'sweet', never quite syncing up into a totally satisfying final product.
Simon Miraudo - Quickflix