Bright Star Reviews

  • Campion's big-sisterly encouragement of Cornish's lovely, openhearted performance -- and Whishaw's well-matched response -- results in a character instantly, intimately recognizable to anyone remembering her own first love.

    Lisa Schwarzbaum — Entertainment Weekly

  • The achievement of Jane Campion's learned and ravishing new film is to trace the comminglings and collisions of poetic creation and amatory passion.

    A.O. Scott — New York Times

  • A deeply felt and intelligent film, one of those that has grown in my mind on a second viewing; it is almost certainly the best of Campion's career, exposing The Piano as overrated and overegged.

    Peter Bradshaw — Guardian [UK]

  • Those who love language and particularly poetic verse will savor the dialogue, as well as the visual splendor of the film. With its gorgeously framed shots and superb craftsmanship, Bright Star is a thing of beauty.

    Claudia Puig — USA Today

  • Bright Star is ripe with the eroticism of a proud woman being seduced by words and undone by emotions. If that's not worth more than a year of Megan Fox movies, I can't help you.

    Ty Burr — Boston Globe

  • England 1818 seems like a Fragonard garden, the pastoral height of civilization. Conversation is witty; summer feels eternal.

    J. Hoberman — Village Voice

  • A film that avoids any trace of musty reverence for a long-dead poet by concentrating our senses on the breathtaking girl next door.

    Joe Morgenstern — Wall Street Journal

  • Greig Fraser's cool cinematography offsets the heat in Campion's ecstatically literate screenplay, which quotes Keats' handiwork all the way through the end credits. It sounds like music.

    Amy Biancolli — Houston Chronicle

  • If you don't mind the inert drama at the core, Bright Star at least gives you plenty of eye candy.

    Christopher Kelly — Dallas Morning News

  • Silence and stillness, as well as the restrained desire of its lovers, are given their due. After the clatter and rush of the summer flicks, patience is demanded but also rewarded.

    Lisa Kennedy — Denver Post

  • What keeps all this from seeming overmelodramatic is Schneider's huge performance, which is too hilarious. All costume dramas need actors this rude.

    David Edelstein — New York Magazine

  • There's a full complement of geese and mud and some women in bonnets, but Campion avoids finery and ceremony. She doesn't show off the period; she triumphantly makes it a time in which people live as best they can.

    David Denby — New Yorker

  • What Campion does is seek visual beauty to match Keats' verbal beauty. There is a shot here of Fanny in a meadow of blue flowers that is so enthralling it beggars description.

    Roger Ebert — Chicago Sun-Times

  • In its way Campion's film is a thing of beauty, but its characters' inner lives must be taken on faith.

    Michael Phillips — Chicago Tribune

  • The best costumers, set designers, and property masters can't conjure up the mental and emotional spaces of a simpler era; that requires a filmmaker who knows the virtue of quiet, patience, and attentiveness.

    J. R. Jones — Chicago Reader

  • Intimate as a whisper, immediate as a blush, and universal as first love, the PG-rated film positively palpitates with the sensual and spiritual.

    Carrie Rickey — Philadelphia Inquirer

  • For a film about love, Bright Star is curiously cold, more pretty than emotional. True stars have heat.

    Tom Long — Detroit News

  • Bright Star shines brightly indeed, not only on the strength of a couple of powerhouse performances, but also as a look back at a time when poets were rock stars, with all the skinny British attitude that implies.

    Bill Goodykoontz — Arizona Republic

  • Breaking through any period piece mustiness with piercing insight into the emotions and behavior of her characters.

    Todd McCarthy — Variety

  • Bright Star is literate, romantic and high-minded.

    Roger Moore — Orlando Sentinel

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