---
title: "American Beauty"
year: 1999
kind: "film"
canonical: "https://film.one/film/american-beauty"
fi1m_id: "american-beauty"
imdb_id: "tt0169547"
tmdb_id: 14
wikidata_id: "Q25139"
fi1m_score: 76
critics_score: 80
critics_reviews: 12
published: "2026-09-14"
updated: "2026-10-06T12:12:40.729436+00:00"
region: "SI"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# American Beauty (1999)

Directed by Sam Mendes · 2h 02m · Drama

## Identity

American Beauty

- **Canonical:** https://film.one/film/american-beauty
- **Type:** Film
- **Fi1m ID:** american-beauty
- **IMDb ID:** tt0169547
- **TMDB ID:** 14
- **Wikidata ID:** Q25139
- **Same entity:** https://www.imdb.com/title/tt0169547/, https://www.themoviedb.org/movie/14, https://www.wikidata.org/wiki/Q25139

**Fi1m score: 76** · Critics 80 from 12 reviews

*In a sentence:* Annette Bening looks as though she has had to organise everyone else’s midlife crisis

> Sam Mendes’s suburban satire is funny and well acted, especially by Annette Bening. We recommend it for the performances, with a reservation: Alan Ball’s screenplay treats familiar complaints about middle-class life as discoveries.

## Synopsis

Lester Burnham (Kevin Spacey) and Carolyn Burnham (Annette Bening) are an unhappy couple living in American suburbia. Their dissatisfaction becomes part of a wider story about middle-class lives coming apart, as a midlife crisis exposes the limits of doing what is expected. Thora Birch plays Jane Burnham, Wes Bentley plays Ricky Fitts and Mena Suvari plays Angela Hayes. The cast also includes Chris Cooper as Colonel Fitts, Allison Janney as Barbara Fitts and Peter Gallagher as Buddy Kane. Directed by Sam Mendes and written by Alan Ball, the drama follows the friction between social convention and private desire.

## Review

*American Beauty* is a good, sourly funny suburban drama that puts rather too much confidence in its own wisdom. Sam Mendes directs Alan Ball’s screenplay as though every frustration deserves attention, even when the people expressing it are behaving badly. That generosity matters, because the unhappy middle-class household is an easy target, and the film sometimes settles for the easy shot. We recommend it for the actors, who make more of these complaints than the writing always gives them.

Kevin Spacey’s Lester Burnham is central to that success. Spacey gives discontent a comic fluency that makes it entertaining even when we begin to question how much sympathy it deserves. There is pleasure in watching an actor make self-absorption so companionable, and a danger that the film will mistake his charm for a justification. Mendes does not always keep enough distance from Lester, but Spacey’s performance gives the satire an ease that prevents it becoming a lecture.

Annette Bening is the stronger reason to watch. As Carolyn, she makes unhappiness feel like exhausting work, with a tightness in her delivery that complicates the comedy. We laughed at Spacey’s self-satisfaction, then felt uncomfortable because Bening made the same relationship look so punishing. She does not ask us to find Carolyn agreeable before taking her seriously, and that exposes a weakness in Ball’s writing: we sometimes rely on the actor to provide sympathy the jokes have not earned.

Conrad Hall’s cinematography gives the suburban setting a controlled, polished look that suits Mendes’s scrutiny of the people living there. Naomi Shohan’s production design makes domestic respectability feel stifling; it helps us understand why these characters are dissatisfied without needing the dialogue to explain it. The images reward attention even when Ball’s observations are obvious. Sometimes, though, the polish distances us from the people whose unhappiness is supposed to matter.

Editors Christopher Greenbury and Tariq Anwar keep the humour and unhappiness in workable proportion, letting performances register without making each change of mood a separate event. Thomas Newman’s music helps the film’s gentler feelings come through, although it cannot make every bid for profundity convincing. The difficulty lies in Ball’s wish to combine satirical complaint with a more forgiving view of these people. The more solemn passages ask for a degree of belief the sharper jokes have made difficult.

Suburban satire needs more than unhappy people living respectable lives, and this is where *American Beauty* falls short of its ambitions. Ball is alert to hypocrisy, but conformity is too often treated as a sufficient explanation for everything that hurts. That reduces the surprise: once we understand the target, we can anticipate too much of the complaint. Mendes’s sympathy and the ensemble’s skill keep individual passages alive, yet they cannot entirely overcome the familiarity of what is being said.

The film remains worth an evening if dark domestic comedy appeals, and its 122 minutes give the actors room to complicate the broad strokes. The insistence on finding significance can grow tiresome, particularly when the performances have already made the unhappiness clear. Watch it for Bening in particular, without feeling obliged to accept every lesson.

*Fi1m score 76, published 14 September 2026.*

## What the critics say

Most critics greet American Beauty warmly: eleven of the twelve reviews are positive, and the praise gathers in the same places. Kevin Spacey’s lead performance is singled out again and again for its wit and control. Alan Ball’s script is credited with holding sharp satire and real affection for its characters together, and Sam Mendes’s direction is judged assured for a first film. Several reviews also pick out Annette Bening and Conrad Hall’s cinematography.

The spread is narrow but not unanimous. The cooler notices find it a shade too neat: Time Out thinks it too pat to be revelatory and unconvincing as suspense, and the Guardian admits some redundancy and naivety. The one outright dissent comes from Slant Magazine, writing two years after release, which calls the portrait of suburbia cartoonish and the direction slick, while still crediting Bening. How well the film ages is the question the later reviews raise.

## Straight answers

**Is American Beauty worth watching?**

*American Beauty* is worth watching for its performances, above all Annette Bening's, and we scored it 76. Sam Mendes's suburban satire is sourly funny and handsomely shot, but Alan Ball's screenplay treats familiar complaints about middle-class life as discoveries. Watch it if dark domestic comedy appeals, and do not feel obliged to accept every lesson it offers.

**How long is American Beauty, and what is it rated?**

*American Beauty* runs 2h 02m. It is a drama film.

**Where can I watch American Beauty in Slovenia?**

*American Beauty* is not on any streaming or rental service in Slovenia at the moment. It is available in 51 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is American Beauty, and is it suitable for children?**

*American Beauty* carries an 18 certificate in the UK and an R rating in the US, so it is not suitable for children. It is a drama about adult dissatisfaction, unhappy marriage and private desire rather than a violent or frightening film, but the certificate indicates strong adult content throughout. Teenagers under 18 should not be watching it.

**How does American Beauty compare to The Apartment?**

*American Beauty* and [*The Apartment*](https://film.one/film/the-apartment) are both sour comedies that find real hurt beneath respectable adult behaviour, but Billy Wilder's film is the more patient and the better of the two. Wilder gives his characters room to be foolish without lecturing us about it; Mendes's film keeps insisting on its own significance. Choose *The Apartment* for warmth, *American Beauty* for sharper, colder jokes.

**What should I watch after American Beauty?**

After *American Beauty*, try [*The Apartment*](https://film.one/film/the-apartment) (1960, Fi1m 91): Another sour comedy that finds real hurt beneath respectable adult behaviour. Then [*The Ice Storm*](https://film.one/film/the-ice-storm) (1997, Fi1m 85): Middle-class dissatisfaction, with more patience for the people caught in it; and [*Tokyo Story*](https://film.one/film/tokyo-story) (1953, Fi1m 92): Family disappointment observed without insisting that anyone make a grand discovery.

### Reviews we read (12)

- **RogerEbert.com**, Roger Ebert (4/4): Ebert views the film as both comedy and tragedy, centering on a middle-aged man's rebellion against his unloved, unrespected life and his pursuit of fleeting freedom and beauty. He singles out Kevin Spacey's intelligent performance and the ensemble's balance of parody and realism, while noting the story's emphasis on sadness and loneliness over cruelty. [Read](https://www.rogerebert.com/reviews/american-beauty-1999)
- **Empire**, Ian Nathan (90/100, inferred): The critic calls it an exceptional, achingly funny and bitingly moving debut from Sam Mendes that explores ordinary Americans going off the rails. Kevin Spacey's richly textured lead performance is singled out for particular praise alongside the film's devotion to humanity and love. [Read](https://www.empireonline.com/movies/reviews/american-beauty-review/)
- **Sight and Sound**, Kevin Jackson (90/100, inferred): The critic finds the film a brilliantly executed satire that transcends its clichéd suburban midlife-crisis premise through nuanced performances and tonal shifts. Kevin Spacey’s lead turn and Sam Mendes’ assured direction are singled out as making it a genuine surprise and ensemble triumph. [Read](http://old.bfi.org.uk/sightandsound/review/291)
- **The New Yorker**, David Denby (90/100, inferred): The film moves from sharp satirical riffs on suburban conformity to a vision of the sublime, offering redemption through appreciation of hidden beauty. It is called a rich, brilliant, and unnerving work, with praise for the direction, cinematography, and Kevin Spacey's performance. [Read](https://www.newyorker.com/magazine/1999/09/20/transcending-the-suburbs)
- **The New York Times**, Janet Maslin (90/100, inferred): The critic hails the film's successful balance between mordant satire and bright affection for its characters in curdled suburbia. Kevin Spacey's witty, agile performance and Sam Mendes's visual flair are singled out for praise. [Read](https://www.nytimes.com/1999/09/15/movies/film-review-dad-s-dead-and-he-s-still-a-funny-guy.html)
- **Variety**, Todd McCarthy (90/100, inferred): The film is an acerbic, darkly comic critique of social conventions leading to sterile lives, called a real American original and stunning debut for writer Alan Ball and director Sam Mendes. The multilayered script, sure-handed direction, and exceptional ensemble cast are singled out for praise. [Read](https://variety.com/1999/film/reviews/american-beauty-1117752118/)
- **IndieWire** (80/100, inferred): The critic praises the film's savage wit and strong performances in this Toronto festival preview. It highlights the sharp satire and ensemble work as standout elements. [Read](https://www.indiewire.com/news/general-news/toronto-review-american-beauty-showcases-pageant-of-savage-wit-82093/)
- **The Guardian** (80/100, inferred): The critic finds Sam Mendes's debut an exhilaratingly intelligent and formally brilliant suburban satire despite some redundancy and naivety. Spacey and Bening deliver standout performances as the central unhappy couple. [Read](https://www.theguardian.com/film/2000/jan/28/4)
- **Los Angeles Times**, Kenneth Turan (70/100, inferred): The review describes an unsettling, unnerving dark comedy that avoids easy categorization, energized by bravura performances from Kevin Spacey and Annette Bening. Sam Mendes's provocative debut direction and Conrad Hall's cinematography are highlighted as key strengths. [Read](https://www.latimes.com/archives/la-xpm-1999-sep-15-ca-10492-story.html)
- **Time Out**, TCh (70/100, inferred): The review calls it a polished, acerbic social satire with countercultural leanings, praising Alan Ball’s screenplay for balancing wit and compassion and Mendes for guiding an artful path between desire and self-disgust. It notes the film is a shade too pat to be revelatory and unconvincing as suspense. [Read](https://www.timeout.com/movies/american-beauty)
- **Slant Magazine**, Ed Gonzalez (1): The critic finds the film does not age well and calls its portrait of suburban life cartoonish, while noting some strong performances especially from Annette Bening. The direction and screenplay are faulted for being overly slick and smutty. [Read](https://www.slantmagazine.com/film/american-beauty/)
- **Eye for Film**, Angus Wolfe Murray (80/100, inferred): The critic praises the script's devastating yet funny attack on middle-class American psyche, highlighting the humor, horror, and strong performances. It singles out the film's imaginative direction and broad scope covering dysfunction. [Read](https://www.eyeforfilm.co.uk/review/american-beauty-film-review-by-angus-wolfe-murray)

## Details

- **Director:** Sam Mendes
- **Director:** Sam Mendes
- **Writer:** Alan Ball
- **Cinematography:** Conrad Hall
- **Editor:** Christopher Greenbury, Tariq Anwar
- **Music:** Thomas Newman
- **Production design:** Naomi Shohan
- **Costume design:** Julie Weiss
- **Producer:** Bruce Cohen, Dan Jinks
- **Cast:** Kevin Spacey as Lester Burnham; Annette Bening as Carolyn Burnham; Thora Birch as Jane Burnham; Wes Bentley as Ricky Fitts; Mena Suvari as Angela Hayes; Peter Gallagher as Buddy Kane; Allison Janney as Barbara Fitts; Chris Cooper as Colonel Fitts
- **Runtime:** 2h 02m
- **First release (the US):** 8 September 1999
- **Genres:** Drama
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Winner, 1999); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Winner, 1999); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Winner, 1999)
- **Budget:** $15 million
- **Box office:** $356 million
- **Trailer:** https://www.youtube.com/watch?v=XCxzXblZyfQ

## Where to watch in Slovenia

Not streaming, renting or buying in Slovenia at the last check.

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2000: Best Actress (nominated); Best Film Editing (nominated); Best Original Score (nominated); Best Actor (won); Best Cinematography (won); Best Director (won); Best Picture (won); Best Writing, Original Screenplay (won)
- Amanda Award for Best Foreign Feature Film 2000: Amanda Award for Best Foreign Feature Film (won)
- BAFTA Film Awards 2000: Best Film (won)
- Dallas-Fort Worth Film Critics Association Award for Best Film 1999: Dallas-Fort Worth Film Critics Association Award for Best Film (won)
- European Film Award for Best Non-European Film 1999: European Film Award for Best Non-European Film (nominated)

## If you liked this

- *The Apartment* (1960), Fi1m 91: Another sour comedy that finds real hurt beneath respectable adult behaviour — [Fi1m page](https://film.one/film/the-apartment.md)
- *The Ice Storm* (1997), Fi1m 85: Middle-class dissatisfaction, with more patience for the people caught in it — [Fi1m page](https://film.one/film/the-ice-storm.md)
- *Tokyo Story* (1953), Fi1m 92: Family disappointment observed without insisting that anyone make a grand discovery — [Fi1m page](https://film.one/film/tokyo-story.md)
- *Secrets & Lies* (1996), Fi1m 88: Family unhappiness made painfully particular by actors allowed room to be awkward — [Fi1m page](https://film.one/film/secrets-and-lies.md)
- *Force Majeure* (2014), Fi1m 84: A couple’s respectable self-image collapses under scrutiny, with an equally uncomfortable comic edge — [Fi1m page](https://film.one/film/force-majeure.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/american-beauty