The film is better on mood than on message, sharply etching the professional desperation behind the forced gaiety. show more
The film is darkly atmospheric, with Herrmann quietly suggesting the sadness and obsession beneath Hearst's forced avuncular chortles. Dunst is as good, in her way, as Dorothy Comingore in "Citizen Kane" in showing a woman who is more loyal and affectionate than her lover deserves. show more
The script is dead in the water, and most of the misanthropic repartee rings resoundingly false.