Jane Eyre Reviews

  • Has a few token thunderstorm-on-the-moors scenes but lacks a grand, mythological design. The movie is choppy and prosaic.

    Owen Gleiberman — Entertainment Weekly

  • A splendid example of how to tackle the daunting duty of turning a beloved work of classic literature into a movie.

    A.O. Scott — New York Times

  • In its superbly spare execution, the newest adaptation of Jane Eyre is both faithful to Charlotte Bronte's classic and distinctively original.

    Claudia Puig — USA Today

  • While qualifying as the most gorgeously appointed and finely detailed version of the novel so far, still lacks the element of essential fire to make it come fully, even subversively, to life.

    Ann Hornaday — Washington Post

  • This is one of the better Jane Eyres I've seen onscreen, a conception that forsakes movie-groomed glamour for a plainer, less compromised beauty.

    Ty Burr — Boston Globe

  • Using Bronte's text as the basis for an inquiry into free will versus servitude, Fukunaga mounts a subtly shaded, yet emotionally devastating, examination of what it really means to choose one's own way.

    Karina Longworth — Village Voice

  • Though there's enough to admire intellectually here, every "Jane Eyre" should also deliver some emotional swoons.

    Elizabeth Weitzman — New York Daily News

  • Ms. Wasikowska works with economical purity within the novel's 19th-century English setting. Jane's personal power seems entirely her own, rather than some anachronistic notion of self-empowerment.

    Joe Morgenstern — Wall Street Journal

  • Fukunaga's superbly executed direction and careful staging speak very rarely, and yet say so much.

    James Rocchi — MSN Movies

  • It captures the elemental Bronte passions yet again.

    David Denby — New Yorker

  • Mia Wasikowska, from Australia, is a relative newcomer who must essentially carry "Jane Eyre," and succeeds with restraint, expressing a strong moral compass.

    Roger Ebert — Chicago Sun-Times

  • To no one's surprise, the story still works like Gothic gangbusters, thanks in part to reliable back-court support from Judi Dench (as Mrs. Fairfax) and Sally Hawkins (as Jane's venal guardian).

    Michael Phillips — Chicago Tribune

  • Screenwriter Moira Buffini sticks pretty closely to the novel, and director Cary Fukunaga conjures a drab tone that nicely sets off the characters' violent but rigidly controlled passions.

    J. R. Jones — Chicago Reader

  • By opening their movie with the mature Jane, the filmmakers forge an emotional bond between her and the audience.

    Carrie Rickey — Philadelphia Inquirer

  • There is not a drab image or a middling performance in the piece. The freewheeling adaptation drops needless scenes and spurs the story ahead with galloping momentum.

    Colin Covert — Minneapolis Star Tribune

  • Somehow Wasikowska makes it all seem much more personal, more real. With her stark, starched dresses and blunt, elastic face, she draws you in, making both Jane's pain and incredible resolve tangible.

    Tom Long — Detroit News

  • Beauty, along with a sense of mystery, is what audiences expect in a Gothic romance, and Fukunaga delivers with carefully composed shots of austere landscapes and shadowy Victorian opulence.

    Kerry Lengel — Arizona Republic

  • You gotta hand it to Charlotte Bronte. One hundred and sixty-four years since she gave hyperkinetic Victorian schoolgirls their first sleepless nights, she's pulling them in all over again.

    Rex Reed — New York Observer

  • The candlelight flickers exquisitely even as the passions are slow to ignite in this spare, shrewdly acted but not especially vital retelling of Jane Eyre.

    Justin Chang — Variety

  • After 160 years, this is a story that still grips the heart and the mind.

    Lou Lumenick — New York Post

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