Cyrano (2021)

Ebiri calls the film a delicate, deeply romantic dream that turns unrequited love into a moving, expansive experience. He especially praises Peter Dinklage’s expressive performance and the film’s sensual use of song, movement, and letters.

The critic praises the film as a fresh, poetic reinvention of the romantic classic. He especially singles out Joe Wright’s inventive direction and visually dazzling staging.

The review finds the musical romance slow to come alive but ultimately moving and worthwhile. It praises Peter Dinklage’s performance and singing, while criticizing the wait for the film’s emotional force to emerge.

Latif finds the adaptation charismatic and enjoyable but ultimately insubstantial. She praises its vivid pastel visuals, exquisite costumes and graceful dance numbers.

Farber calls the musical one of the year’s highlights and Joe Wright’s best film, despite some problematic elements. He especially praises the stunning visuals and the emotional force of Dinklage and Bennett’s final scene.

D’Angelo finds this Cyrano solid, with an inspired musical concept undermined by Peter Dinklage’s limited singing. He especially praises Dinklage’s nuanced acting in the scene where Cyrano realizes Roxanne loves Christian.

Chang finds the musical sweet, earnest and intermittently enchanting, though its retelling can feel uneven. He singles out Peter Dinklage’s soulful, vulnerable performance as the film’s sustaining strength.

Freer finds the adaptation eccentric and occasionally over-ornate, but inventive, visually lush, and worth seeing. He singles out Peter Dinklage’s vulnerable, charismatic performance as the film’s anchor.

Ehrlich finds the film eccentric and only intermittently effective, though its boldness and Dinklage’s performance make it worth singing about. He particularly praises Dinklage’s poignant portrayal of Cyrano’s self-doubt, while faulting the musical numbers for lacking memorable hooks.

The standfirst signals a positive verdict on Joe Wright’s musical adaptation. It singles out Peter Dinklage as stealing the show.

Bradshaw finds the film slower and more solemn than expected, but considers Dinklage persuasive and captivating in the title role. He singles out Dinklage’s natural charisma and piercing commitment as the film’s strengths.

Newland finds Cyrano enjoyable and beautifully crafted, though it lacks momentum and lasting impact. She singles out Peter Dinklage’s charismatic, melancholic performance as the film’s chief strength.

Taylor calls it a palatable adaptation, though the songs succeed unevenly. She singles out Peter Dinklage’s Cyrano and the musical transformation of the play, while noting variable success in adapting the letters into songs.

The review presents this as an earnest musical adaptation, with Peter Dinklage a hero to root for. It singles out his charisma as the film’s strength.

Bowen finds the film overindulgent and insufficiently attentive to the play’s emotional core. He praises the finale’s piercing sadness and Peter Dinklage’s affecting performance.

Brody finds the adaptation thuddingly dull, with its bombast substituting for poetic imagination. He particularly objects to how it strips Cyrano of the fiery wit and rage that define the character.

Kermode calls the film an unmissable, emotionally powerful adaptation that restores the story’s ambiguities. She especially praises Peter Dinklage’s performance and Haley Bennett’s singing as Roxanne.

Bonaime calls the film one of the best recent musicals, praising Peter Dinklage’s heartbreaking performance and the music. He notes that Roxanne is underdeveloped when the film focuses on her alone.

Hammond praises the film as a fresh, moving musical adaptation, led by Peter Dinklage’s vivid portrayal of Cyrano. He singles out Dinklage for making the familiar character feel newly alive.

Bui finds Cyrano an uneven but visually pleasing musical romance, elevated by a revelatory Peter Dinklage performance. She especially praises Dinklage’s expressive, yearning portrayal, while faulting the songs and occasional awkward musical staging.

The critic finds Joe Wright’s adaptation respectful and romantically affecting, though several songs are forgettable and the casting raises a concern. Peter Dinklage’s charm and standout performance are singled out for praise.

Hassenger finds the film polished but overly conventional, with musical numbers that rarely achieve the story’s emotional highs. He praises Peter Dinklage’s soulful, multifaceted performance as Cyrano.

The page is blocked, so the critic’s verdict cannot be determined. No praise or complaint can be verified from the available text.

The critic finds the adaptation well-intentioned but ultimately unnecessary and unable to come together. They praise the Dessner brothers’ stirring soundtrack, especially the moving song “Wherever I Fall.”

The critic finds the adaptation bittersweet, with enjoyable highs undermined by painful lows. Dinklage’s passionate performance stands out, while the forgettable, poorly timed songs disrupt the story.