Coco Before Chanel (2009)

Turan calls the film a superior, satisfying biography, praising its intelligence, restraint, and style. He singles out Audrey Tautou’s performance for embodying Chanel’s strength and determination.

The review gives the film four out of five stars. The available page text does not reveal what the critic praises or criticizes.

The critic finds the film intelligent and engaging, praising its avoidance of biopic clichés and sentimentality. Audrey Tautou’s portrayal of Coco is singled out for fully inhabiting the character.

Bradshaw finds the film worthwhile and well made, though its pace is sluggish. He praises Audrey Tautou’s cool, unshowy performance and Benoît Poelvoorde’s supporting turn.

Mintzer finds the film more sentimental than chic but ultimately a convincing portrait of Chanel’s rise. He praises the visual design and Tautou’s performance, while noting that the later love-triangle drama feels forced.

The review finds the film quietly thoughtful, though less complex than it might have been. It praises Tautou’s nuanced performance and the film’s elegant visual style.

The review finds the film visually sumptuous but a conventional, overly softened portrait of Chanel. It praises Audrey Tautou’s vulnerable performance while faulting the film for overlooking Chanel’s complexity and the sisters’ relationship.

Schager finds the film respectful but bland and clichéd, lacking the daring associated with Chanel. He singles out Audrey Tautou’s portrayal of Coco’s steely resolve as a strength.

Lane finds the film graceful in places but too gentle and undriven to capture Chanel’s force. He praises its tactile visual details, while criticizing Audrey Tautou’s casting and the film’s languid pace.

Tobias finds the biopic dull and too generic to explain what made Chanel distinctive. He praises Audrey Tautou’s subtle, intelligent performance, while lamenting that the film’s most vivid glimpse of Chanel at work comes only at the end.

Koresky finds the film a conventional, superficial portrait that neglects Chanel’s emergence as a designer. He singles out Emmanuelle Devos’s spontaneous performance as a rare source of individuality amid the film’s stoicism.

Kermode finds the film beautiful and admires Tautou’s performance, though its slow pace makes Coco’s frustration tedious to watch. She particularly praises the costumes and the film’s lovingly observed details of Chanel’s emerging style.

Reynolds finds the biopic cold and languid, with Coco remaining difficult to empathise with. He praises Tautou’s layered performance and the late-arriving exploration of Chanel’s clothing designs, while faulting the film for neglecting fashion for much of its running time.