Downton Abbey (2019)

Chaney finds the film a satisfying, welcome return that delivers the pleasures of an extended episode for fans. She especially praises its beautiful cinematography and costumes, along with a late scene between Maggie Smith and Michelle Dockery that lands emotionally.

Turan finds the film a satisfying continuation of the series, especially for viewers already attached to its characters. He praises Maggie Smith, who steals scenes as the Dowager Countess.

Macnab finds the film contrived but enjoyable, with its kitsch and snobbery part of the appeal. He particularly praises Maggie Smith’s impeccable comic timing and the sumptuous production values.

Nguyen finds the film a satisfying, lavish return to the world of Downton Abbey and a fitting farewell for its characters. She especially praises its sumptuous visual details and warm nostalgia, while noting that plot takes a back seat to spending time with familiar characters.

Felperin finds the film satisfyingly sumptuous, though its many plotlines can make it feel like an extra-long episode. She particularly praises the costumes and finery, which make striking use of the big screen.

The standfirst suggests the film succeeds in recreating the series’ charms. It singles out its upstairs-downstairs appeal, though the full review is not visible.

The standfirst suggests an amused, positive verdict. It singles out Maggie Smith’s sharply delivered one-liners and oversized hat.

Siede finds the film charming comfort food for fans, but says it lacks a complete story and satisfying finale. She praises Maggie Smith’s sharp one-liners and emotional pathos, and singles out Thomas Barrow’s subplot as especially compelling.

The provided page does not reveal the critic’s verdict. It also does not show what the review singles out for praise or complaint.

Gonzalez finds the film wearying, with a season’s worth of incidents crowded into two hours. He praises the servants’ battle over the right to cook for the royals as evocative and a sharp portrait of class divisions.

Sexton finds the film a comforting continuation of the series, with its conventional plotting and class system left reassuringly intact. He singles out the plot devices as feeble, though their weakness suits the film’s gentle, jolly tone.

The reviewer says the film is a dream big-screen adaptation for Downton fans, though casual viewers may get lost. The politeness and intricate social world are a hurdle for newcomers.

O’Hara finds the film charming for established fans but too gentle and insular to draw in newcomers. She singles out Maggie Smith’s acerbic wit as a delight, while noting the story’s low stakes and dated class outlook.

Stables finds the film comforting and sumptuous, but judges its plot too slight to sustain a feature. She praises the glowing visuals and Maggie Smith’s zingers, while noting the film’s reassuring nostalgia sidesteps the period’s social conflicts.

Hans finds the film mostly harmless but argues its episodic rhythm makes it feel like an extended television special rather than a cinematic outing. She praises the familiar comforts of the returning characters, especially Maggie Smith’s withering asides.

The capsule is skeptical, suggesting the film risks resembling a parody of Gosford Park. It singles out the crowded cast, whose members jostle for dramatic prominence.

The critic finds the film too slight and conservative, though it remains appealing enough for devoted fans. He praises Mary’s unchanged insouciance and the cozy village moments, while faulting the thin plot and lack of character depth.

The review calls the film a disappointing nostalgia trip. It faults the predictable drama and its low-stakes storyline.

Keene finds the film a joyous, satisfying reunion that is familiar but immensely entertaining. She especially praises the returning cast’s witty exchanges and the film’s lavish costuming, while noting its indulgent nostalgia and class politics.

The critic finds the film rushed and slight but ultimately a treat for viewers returning to Downton. She especially praises the cast’s performances and the film’s gorgeous visual design.

Mellor finds the film a frothy, entertaining victory lap, though it drags and turns mawkish near the end. She praises its lavish visual celebration of costumes, interiors, and the work of running the estate.

The critic finds the film cozy and lovingly detailed, but overstuffed with characters and indulgent toward the aristocracy. The meticulous period detail is praised, while the crowded plotting weakens the emotional impact.

Kermode finds the film visually disappointing and dramatically flimsy, calling it a poor send-off for the series. She particularly criticizes the washed-out cinematography and choppy editing, despite praising the costumes.