Becoming Jane Critic Reviews

Metascore®:

62 =
Based upon 12 Critic Reviews
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USA Today | Claudia PuigAdd Critic to Favorites

If one were to fuse the literary sensibility of Jane Austen with the fanciful imaginative license of "Shakespeare in Love," what would emerge would likely be the charming tale Becoming Jane.Read the full review

Variety | Derek ElleyAdd Critic to Favorites

An ersatz "Pride and Prejudice" in all but name, Becoming Jane is a finely tooled Brit-lit costumer that, like Anne Hathaway's flawless accent as the young Austen, lacks only that final convincing 5%.Read the full review

Boston Globe | Ty BurrAdd Critic to Favorites

Anne Hathaway's Jane is headstrong and clever, balanced and true.Read the full review

Chicago Sun-Times | Roger EbertAdd Critic to Favorites

The way all of this plays out is acted warmly by the principals, and Eigil Bryld's photography (of Ireland) makes England look breathtakingly green and inviting. The director, Julian Jarrold ("Kinky Boots" and the TV version of "White Teeth") is comfortable with the material, and it is comfortable with him.Read the full review

Entertainment Weekly | Owen GleibermanAdd Critic to Favorites

Becoming Jane has a burnished feminine sadness, and the director, Julian Jarrold, gives it a creamy-dark visual flow.Read the full review

ReelViews | James BerardinelliAdd Critic to Favorites

There are enough similarities between the movie and "Pride and Prejudice" that one could be forgiven thinking this screenplay is Austen lite.Read the full review

San Francisco Chronicle | Mick LaSalleAdd Critic to Favorites

Its weaknesses are clumsy plotting and a less-than-satisfying ending.Read the full review

The Onion (A.V. Club) | Scott TobiasAdd Critic to Favorites

The film tries to squeeze Austen into one of her novels, and the peg doesn't fit.Read the full review

Wall Street Journal | Joanne KaufmanAdd Critic to Favorites

Austen comes off here more as stenographer than writer. Worse, the movie has Tom Lefroy as her condescending guide.Read the full review

The New York Times | Stephen HoldenAdd Critic to Favorites

The screenplay’s pseudo-Austen tone is so consistent that its lapses into modern romance-novel fantasy threaten to derail the film.Read the full review

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