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reviews

55
Based on 14 Reviews
critic reviews (10)
fan reviews ( 0 )
  • 88
    Peter Travers Rolling Stone

    The film is rapturously beautiful, enticing us into a lush, aristocratic world. show more

  • 63
    Mike Clark USA Today

    Valmont, to my surprise, isn't the best movie of Choderlos de Laclos' novel. Blame overripe material, as well as Forman's benign approach to an essentially nasty yarn. [17 Nov 1989] show more

  • 88
    Roger Ebert Chicago Sun-Times

    The Frears version is cerebral and claustrophobic, an exercise in sexual mindplay. show more

  • 88
    Liam Lacey The Globe and Mail (Toronto)

    Forman's treatment is another matter entirely - infinitely more subtle and, using the intrinsic bias of film, far more naturalistic. [18 Nov 1989] show more

  • 75
    Dave Kehr Chicago Tribune

    Valmont is a superb piece of craftsmanship, impeccable in every detail from lighting to costuming, but as a work of art it remains tentative and blurred. [17 Nov 1989] show more

  • 50
    TV Guide

    Milo Forman's Valmont is the weakest version so far, suffering from willfully wrongheaded casting, a comic-strip "free" adaptation by former Luis Bunuel collaborator Jean-Claude Carriere, and Forman's heavy-handed direction of material that requires the most sophisticated glancing touch. show more

  • 60
    Empire

    Making no secret of the fact that he has "freely adapted" the novel, writer Jean-Claude Carriere and Milos "Amadeus" Forman have come up with a visually mouthwatering epic treatment: beautiful, opulent, sumptuous. show more

  • 70
    Sheila Benson Los Angeles Times

    But seductive as his surfaces are, Forman's tack doesn't hold for long. His changes have muted a great tale of betrayal by intelligence and he has blunted the malign inevitability of Laclos' story. [17 Nov 1989] show more

  • 60
    Variety

    Milos Forman's meticulously produced Valmont is an extremely well-acted period piece that suffers from stately pacing and lack of dramatic high points. show more

  • 50
    Jonathan Rosenbaum Chicago Reader

    The results are too pretty and well acted to be a total washout, but the fascination with evil and power that gives the novel intensity is virtually absent; what remains is mainly petty malice and mild cynicism. show more

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