Corsage (2022)

The review calls the film a surprising, funny and compelling period drama, despite some slow pacing. It especially praises Vicky Krieps’s performance and the playful anachronisms.

The critic calls the film a ravishing, masterful meditation on loneliness and finds its fictional historical approach both electric and energizing. They especially praise Vicky Krieps’s layered performance, which reveals the Empress’s inner life beneath her enigmatic expression.

Quinlan finds the film an invigorating, elegant reinvention of the costume drama. She particularly praises Vicky Krieps’s lively performance and the film’s visual texture.

A playful, provocative biopic that offers a tantalizing way forward for the genre. The critic particularly praises Vicky Krieps’s magnetic performance and Marie Kreutzer’s artful, defiant portrait of Elisabeth.

The review praises the film as a witty, liberating subversion of biopic and costume-drama conventions. It especially singles out Vicky Krieps’s performance for bringing the Empress vividly to life.

Newland finds the film an unusual, worthwhile biopic and a bold, ambiguous portrait of historical womanhood. She praises Vicky Krieps and Marie Kreutzer for doing justice to Sisi’s complexity.

Parkinson presents the film as a fresh, gently anachronistic take on Empress Elisabeth’s life. He singles out Vicky Krieps for bringing new life to Elisabeth’s unfulfilled existence.

The review praises the film as a witty, modern reimagining that gives Empress Elisabeth agency and tragedy. It particularly singles out Vicky Krieps’s commanding, nuanced performance.

Smith presents the film as a spiky, witty period drama and praises Vicky Krieps as bold and brilliant. Krieps’s performance is singled out as the film’s driving strength.

The critic finds the film a noble, often successful reclamation of Elisabeth’s story, though its ending leaves a bitter taste. Krieps’s electric performance, especially in scenes with Louis Le Prince, is singled out for praise.

Watson finds the film vibrantly alive despite its story of repression and midlife angst. He especially praises Vicky Krieps’s wry, unsentimental performance as Elisabeth.

Bradshaw finds the film austere and angular, but a shrewd study of anger and women’s confinement. He particularly praises Vicky Krieps’s exhilaratingly fierce, uningratiating performance.

Felperin finds the film a compelling, imaginative take on disaffected royalty, though its quiet period lacks a clear reason for its focus. She especially praises Vicky Krieps’s intelligent, regal performance and the striking costumes.

Lane finds “Corsage” smart and forthright, though he questions its easy ridicule of past manners. He singles out Vicky Krieps’s tough, amused performance and the film’s vivid images of constraint.

The review’s overall verdict is unavailable because the article text is paywalled. Its standfirst singles out Vicky Krieps’s portrayal of Empress Elisabeth as a chain-smoking, self-absorbed figure.

The page content is blocked, so the critic’s verdict cannot be determined. No praised or criticized element is available to identify.

The review finds Corsage a gloriously revisionist portrait of a woman pushing against royal constraints. It singles out Vicky Krieps’s charismatic, contradictory performance as its chief strength.

The critic considers the film a fresh and compelling portrait of Elisabeth. They particularly praise Vicky Krieps’s outstanding, regal performance.

The critic praises the film as an intelligent, sympathetic and sharply witty portrait of Empress Elisabeth. Vicky Krieps’s nuanced performance is singled out as a particular strength.

The critic finds the film well-crafted and thoughtful, with a compelling perspective on femininity and identity. She particularly praises Vicky Krieps’s performance and the sumptuous cinematography and costumes.

The review finds the film a warm, empathetic reimagining that makes Empress Elisabeth feel human. It especially praises Vicky Krieps’s performance and the sound design that conveys the empress’s loneliness.

Bunbury finds the film clever and austere in intention, yet lush in execution, and says its approach works for her. She particularly praises its meticulously considered visual construction and its probing portrait of privilege and frustration.

The headline indicates a positive review of the film. It singles out Vicky Krieps’s performance as Elisabeth for praise.

Titze finds the film compelling but uneven, with some modern touches feeling less assured than its deeper moments. She particularly praises Vicky Krieps’s performance and the exquisite costume design.