--- title: "Elizabeth: The Golden Age" year: 2007 kind: "film" canonical: "https://film.one/film/elizabeth-the-golden-age" fi1m_id: "elizabeth-the-golden-age" imdb_id: "tt0414055" tmdb_id: 4517 wikidata_id: "Q727846" fi1m_score: 54 critics_score: 51 critics_reviews: 15 published: "2026-10-01T19:44:48.358675+00:00" updated: "2026-10-01T19:44:56.647251+00:00" region: "JP" 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." --- # Elizabeth: The Golden Age (2007) Directed by Shekhar Kapur · 1h 54m · Eirin R18+ · Drama, History, Romance ## Identity Elizabeth: The Golden Age - **Canonical:** https://film.one/film/elizabeth-the-golden-age - **Type:** Film - **Fi1m ID:** elizabeth-the-golden-age - **IMDb ID:** tt0414055 - **TMDB ID:** 4517 - **Wikidata ID:** Q727846 - **Same entity:** https://www.imdb.com/title/tt0414055/, https://www.themoviedb.org/movie/4517, https://www.wikidata.org/wiki/Q727846 **Fi1m score: 54** · Critics 51 from 15 reviews *In a sentence:* Elizabeth I against Philip II, and both of them losing to the orchestra > Cate Blanchett is as good as she was nine years ago, and Shekhar Kapur has surrounded her with more of everything: more music, more candles, more camera angles, more Spain. The dresses are superb and the drama is thin. ## Synopsis Elizabeth I (Cate Blanchett) has been on the throne for decades, and Catholic Europe wants her off it. In Spain, King Philip II (Jordi Mollà) is building a fleet and praying over it. At court, her spymaster Sir Francis Walsingham (Geoffrey Rush) hunts Jesuit plotters, among them Robert Reston (Rhys Ifans), while her cousin Mary, Queen of Scots (Samantha Morton) writes letters from Fotheringhay under the eye of her jailer Amyas Paulet (Tom Hollander). Elizabeth receives a parade of suitors she has no intention of marrying, and then Sir Walter Raleigh (Clive Owen), back from the New World with potatoes, tobacco and a request for ships. She is taken with him, and asks her lady-in-waiting Elizabeth Throckmorton (Abbie Cornish), known as Bess, to keep him close. The Armada is coming. ## Review Nine years after [*Elizabeth*](https://film.one/film/elizabeth), Shekhar Kapur and Cate Blanchett return to the same queen, now long on the throne and surrounded by people who want her off it. Michael Hirst and William Nicholson’s screenplay runs three stories at once: King Philip II of Spain (Jordi Mollà) building a fleet and praying over it, Mary, Queen of Scots (Samantha Morton) writing letters from a locked house, and Elizabeth herself falling for a sailor with mud on his boots. Kapur wants all three played at the same pitch for 114 minutes, and the pitch he picks is the top one. Blanchett is the reason it holds together at all. She plays Elizabeth as a woman who has been performing for so long that she can hear her own effects and is tired of them. When Kapur stops moving the camera and lets her look in a mirror, the film is briefly about something. The parade of suitors is funny, Blanchett taking a nervous young archduke’s hand and watching him sweat, and her scenes with Geoffrey Rush’s ailing Walsingham have the shorthand of two people who have kept the same secrets for decades. Morton gives Mary a soft Scots burr and a stillness nothing else here has, and Tom Hollander, as her jailer Amyas Paulet, plays a decent man who disapproves of his prisoner’s cushions. Rhys Ifans hisses pleasantly as the Jesuit Robert Reston. Abbie Cornish, as Elizabeth Throckmorton, the lady-in-waiting sent to keep Raleigh company, has little to do but be looked at. Clive Owen is the difficulty. He plays Sir Walter Raleigh as a man who has read about swagger, and he delivers Hirst and Nicholson’s speeches about the sea as though reading them off a card. We did not believe for a moment that this queen would lose sleep over this man, and the middle of the film needs us to. Alexandra Byrne’s costumes are the best thing in it. The collars stand up behind Blanchett’s head like sails; the gowns go from gold to red to black as the news gets worse; there is a white nightdress for the cliffs and gilt armour for the horse. Remi Adefarasin shoots much of it from above, or through grilles and between pillars, so the queen is always behind bars of one kind or another. It is a clear idea and he has it about forty times. Guy Hendrix Dyas gives England grey stone and high windows, and Philip’s Spain black walls and candles by the thousand. The score is the complaint most critics have made, and they are right. Craig Armstrong and A. R. Rahman keep choirs and drums running under conversations that would be tense on their own, and the music has one volume. Jill Bilcock and Andrew Haddock cut to it rather than to the actors, so two people talking in a corridor are edited like the approach to a battle, and when the battle arrives there is nowhere left to go. The Armada is where the money went, and for a few minutes it is good. The English fire ships drift out at night towards the Spanish line, Blanchett stands on the cliff in white with her hair down, and we sat forward, surprised to feel something like the dread the film had been promising. Then Kapur cuts underwater to drowning horses in slow motion, Raleigh swings across to a Spanish deck on a rope, and the dread went. The sea battle takes less screen time than the suitors. The first film was about a girl finding out what the throne would cost her, and it ended with her paying. This one begins with the bill settled and finds she has nowhere further to go, so the writers give her a crush and a theme. The theme is faith and fear, and the film handles it by having people say the words. Philip gets most of them. Most critics split down the middle, half entertained and half worn out, and so are we. See it for Blanchett and Byrne, who between them make a better film than the one around them. At home, turn the sound down a notch; the dialogue survives and the choir does not need the help. *Fi1m score 54, published 1 October 2026.* ## What the critics say The critics are split, and the spread tips towards disappointment. Almost every review agrees that Cate Blanchett is the reason to watch: her Elizabeth is called commanding, forceful and compelling even by critics who dislike the film around her. Most also agree the sequel falls short of the original, which several remember as darker and more surprising. The costumes and the scale of the Armada sequence are credited even where the drama is not. The reservations cluster on Shekhar Kapur’s direction and on the music. Several reviews find the staging over-indulgent and melodramatic, and the score is repeatedly described as pounding and deafening, drowning what tension the script has. The spread is wide, from a four-star notice at Radio Times to two stars at Time Out and a D+ at The AV Club, which blames rushed storytelling for leaving Elizabeth underdeveloped. Slant Magazine stands apart in reserving its praise for Samantha Morton’s Mary rather than for Blanchett. ## Straight answers **Is Elizabeth: The Golden Age worth watching?** *Elizabeth: The Golden Age* is a mixed case, worth an evening for Cate Blanchett and Alexandra Byrne's costumes and not much else, and we scored it 54. Blanchett is as good as she was in the first film, but Clive Owen's Raleigh never convinces and the score drowns conversations that would be tense on their own. See it for the queen and the dresses. **How long is Elizabeth: The Golden Age, and what is it rated?** *Elizabeth: The Golden Age* runs 1h 54m and is rated R18+ by the Eirin in Japan. It is a drama and history film. **Where can I watch Elizabeth: The Golden Age in Japan?** *Elizabeth: The Golden Age* is available to rent from Apple TV from ¥440. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Elizabeth: The Golden Age, and is it suitable for children?** *Elizabeth: The Golden Age* is a 12A, so it is a historical drama older children and teenagers can sit through, with plotting, executions in prospect and a sea battle rather than gore. The Armada sequence has fire ships at night and drowning horses in slow motion, which may upset younger or sensitive viewers. The romance stays at the level of looks and speeches. **How does Elizabeth: The Golden Age compare to Elizabeth?** *Elizabeth: The Golden Age* is the louder and weaker of Shekhar Kapur's two Elizabeth films, and the earlier [*Elizabeth*](https://film.one/film/elizabeth) is the one we recommend. The first is a darker political thriller about a young queen learning what the throne costs, and it knows when to be quiet. The sequel has finer costumes and bigger set pieces but thinner drama. Newcomers should start with the original. **What should I watch after Elizabeth: The Golden Age?** After *Elizabeth: The Golden Age*, try [*Elizabeth*](https://film.one/film/elizabeth) (1998, Fi1m 82): The first one: same queen, same director, darker, and it knows when to be quiet. Then [*The Lion in Winter*](https://film.one/film/the-lion-in-winter) (1968, Fi1m 81): Hepburn and O’Toole running a kingdom from the dinner table; the dialogue does the work; and [*Orlando*](https://film.one/film/orlando) (1992, Fi1m 81): Sally Potter’s Woolf adaptation, with Quentin Crisp as an old Elizabeth in its opening act. ### Reviews we read (15) - **Radio Times**, Stella Papamichael (4/5): Papamichael gives the film a positive review. She singles out Cate Blanchett as a compelling presence in her return to the role. [Read](https://www.radiotimes.com/movie-guide/b-iy6259/elizabeth-the-golden-age/) - **The Guardian**, Philip French (75/100, inferred): French finds the sequel compelling, with Cate Blanchett carrying its allegorical and historical drama. He especially praises Blanchett’s forceful embodiment of Elizabeth’s intelligence and authority. [Read](https://www.theguardian.com/theobserver/2007/nov/04/features.review37) - **The Hollywood Reporter**, Kirk Honeycutt (75/100, inferred): Honeycutt finds the film a robust, entertaining historical epic, though it lacks the original’s capacity to surprise. He especially praises Cate Blanchett’s commanding performance and the spectacle of the Spanish Armada sequence. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/elizabeth-golden-age-159131/) - **Screen Daily**, Allan Hunter (64/100, inferred): Hunter opens by doubting that the sequel can match its predecessor's achievements. The excerpt praises the original's impact and Blanchett's star quality, but gives no specific verdict on this film. [Read](https://www.screendaily.com/elizabeth-the-golden-age/4034465.article) - **RogerEbert.com**, Roger Ebert (2.5/4): Ebert finds the film visually lavish but dramatically unconvincing. He singles out Cate Blanchett’s performance as a strength amid the film’s excesses. [Read](https://www.rogerebert.com/reviews/elizabeth-the-golden-age-2007) - **Total Film**, Total Film (3/5): The review calls the sequel lesser than its predecessor but still stirring and entertaining. It praises Cate Blanchett’s performance, while finding Shekhar Kapur’s flashy direction distracting. [Read](https://www.gamesradar.com/elizabeth-the-golden-age-review/) - **Empire**, Will Lawrence (50/100, inferred): Lawrence finds the film over-indulgent and melodramatic, likely to beguile and repel in equal measure. He praises the performances, especially Blanchett and Rush, while noting that some viewers may struggle with the director’s epic intentions. [Read](https://www.empireonline.com/movies/reviews/elizabeth-golden-age-review/) - **The AV Club**, Keith Phipps (D+): Phipps judges the film a shallow, noisy disappointment that fails to make meaningful drama from its historical events. He faults its rushed storytelling and overbearing score for leaving little room to develop Elizabeth. [Read](https://www.avclub.com/elizabeth-the-golden-age-1798203172) - **Time Out**, Ben Walters (2/5): Walters gives the film two stars, signaling a negative verdict. The available description singles out a scene of Spain preparing to invade England, including Inquisition robes being dyed. [Read](https://www.timeout.com/movies/elizabeth-the-golden-age) - **Slant Magazine**, Keith Uhlich (30/100, inferred): Uhlich finds the film’s pageantry and pretensions mostly empty, despite some entertaining pleasures. He praises Samantha Morton’s stately performance as Mary, Queen of Scots, while criticizing the film’s superficiality and visual excess. [Read](https://www.slantmagazine.com/film/on-the-circuit-elizabeth-the-golden-age/) - **IndieWire**, Anne Thompson (25/100, inferred): Thompson finds the film overblown and bombastic, though Cate Blanchett remains worth watching. She particularly objects to its deafening music and inflated, effects-heavy spectacle. [Read](https://www.indiewire.com/news/general/tiff-atonement-elizabeth-the-golden-age-187147/) - **Variety**, Todd McCarthy (25/100, inferred): McCarthy finds the sequel melodramatic and diminished, with little to recommend beyond Cate Blanchett’s performance. He singles out Blanchett’s presence for praise and criticizes the reductive history and relentlessly pounding score. [Read](https://variety.com/2007/film/awards/elizabeth-the-golden-age-2-1200556507/) - **The New Yorker**, Bruce Diones (20/100, inferred): The review finds the film poorly written and dramatically ineffective, with a soap-opera feel that dilutes tension. It praises the careful costuming but criticizes the bombastic score and spectacle for substituting for finesse. [Read](https://www.newyorker.com/magazine/2007/10/29/movies-26) - **Eye for Film**, Tony Sullivan (70/100, inferred): Sullivan finds the film an entertaining, grand-scale historical spectacle, though less dark and compellingly directed than its predecessor. He especially praises Cate Blanchett’s performance as Elizabeth, while noting that Clive Owen’s Raleigh feels one-dimensional. [Read](https://www.eyeforfilm.co.uk/review/elizabeth-the-golden-age-film-review-by-tony-sullivan) - **Paste**, Jeremy Goldmeier (60/100, inferred): Goldmeier finds the film visually sumptuous but ultimately weakened by the lack of a compelling human force. He praises Cate Blanchett’s compelling performance as Elizabeth, which anchors the film’s contrasts and spectacle. [Read](https://www.pastemagazine.com/article/elizabeth-the-golden-age) ## Details - **Director:** Shekhar Kapur - **Director:** Shekhar Kapur - **Screenplay:** William Nicholson, Michael Hirst - **Cinematography:** Remi Adefarasin - **Editor:** Andrew Haddock, Jill Bilcock - **Music:** Craig Armstrong, A. R. Rahman - **Production design:** Guy Hendrix Dyas - **Costume design:** Alexandra Byrne - **Producer:** Tim Bevan, Eric Fellner, Jonathan Cavendish - **Cast:** Cate Blanchett as Elizabeth I, Queen of England; Laurence Fox as Sir Christopher Hatton; Clive Owen as Sir Walter Raleigh; Geoffrey Rush as Sir Francis Walsingham; Tom Hollander as Amyas Paulet; Abbie Cornish as Elizabeth Throckmorton; Rhys Ifans as Robert Reston; Samantha Morton as Mary, Queen of Scots - **Runtime:** 1h 54m - **Certificate (Eirin):** R18+ - **Release (Japan):** 16 February 2008 - **Genres:** Drama, History, Romance - **Budget:** $55 million - **Box office:** $74 million ## Where to watch in Japan - Apple TV: rent ¥440, hd - Apple TV: buy ¥1,100, sd *Checked 2026-10-01.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IN, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PH, PL, PT, RO, SE, SG, TH, US, VN, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2008: Best Actress (nominated); Best Costume Design (won) ## If you liked this - *Elizabeth* (1998), Fi1m 82: The first one: same queen, same director, darker, and it knows when to be quiet — [Fi1m page](https://film.one/film/elizabeth.md) - *La Reine Margot* (1994): Patrice Chéreau’s French court of the same century, blood on the sheets and no choir - *The Lion in Winter* (1968), Fi1m 81: Hepburn and O’Toole running a kingdom from the dinner table; the dialogue does the work — [Fi1m page](https://film.one/film/the-lion-in-winter.md) - *Orlando* (1992), Fi1m 81: Sally Potter’s Woolf adaptation, with Quentin Crisp as an old Elizabeth in its opening act — [Fi1m page](https://film.one/film/orlando.md) - *Mary Queen of Scots* (2018): The cousin’s side of the story, with Saoirse Ronan and Margot Robbie and a quieter palette --- © 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/elizabeth-the-golden-age