Florence Foster Jenkins (2016)

The review is positive, finding Streep’s portrayal both deep and entertaining. It especially praises how she makes Florence’s painfully off-key musical performances entertaining.

Kermode finds the film very likable, frequently hilarious, and ultimately poignant. He praises Streep’s portrayal of Jenkins and Grant’s performance as her devoted manager.

The review calls the biopic amusing and ridiculously watchable. It praises Meryl Streep’s comic portrayal of the famously awful singer.

Edelstein finds the film wobbly and uneven but ultimately wonderful, and ends with a heartfelt endorsement. He especially praises Hugh Grant’s understated, emotionally rich performance, while noting that Meryl Streep cannot quite sing as badly as the real Florence Foster Jenkins.

Smith finds the film an entertaining, lighthearted period dramedy, though it takes few risks. She particularly praises Simon Helberg’s nuanced comic performance and the strong performances from Meryl Streep and Hugh Grant.

Sexton finds the film an entertaining, big-hearted comedy, though its fun-first approach smooths over the story’s troubling ambiguities. He singles out Hugh Grant’s casting and Meryl Streep’s charismatic performance, which makes the film more pleasurable but less true to the case.

Erbland finds the film sweet and good-hearted, though it lacks dramatic depth and urgency. She praises its refusal to treat Florence as a joke, while criticizing its pacing and limited character development.

Rife finds the film a well-made, feel-good love story that misses the chance to explore Florence’s inner life. She praises Streep’s performance and singing, while also singling out Simon Helberg as a scene-stealer.

Lodge finds the biopic bright and good-humored, though its padded second half leaves the characters underdeveloped. He praises Meryl Streep’s empathetic, entertaining performance as Jenkins.

Screen Daily identifies this as a review of Stephen Frears’s 2016 film. The review text is behind a paywall, so its verdict and any particular praise or complaint are not visible.

The URL identifies a New York Times review of the 2016 film. The page returned only an access error, so its verdict and points of praise cannot be verified.

Dalton finds the film a modestly enjoyable crowd-pleaser that ultimately feels too conventional and small for its subject. He praises Simon Helberg’s comic performance while criticizing the clunky script and perfunctory direction.

Lane finds the film charming but mildly disappointing for its overly tolerant treatment of Florence’s story. He praises Meryl Streep’s sympathetic performance and Hugh Grant’s moving portrayal of her husband.

The review criticizes the film for avoiding difficult questions about deception and enabling delusion, despite its comedy and tragedy elements. It praises Meryl Streep’s convincing performance, which makes the audience feel guilty for laughing at Jenkins.

Jenkins finds the film feather-light and simplistic, turning a sad story into a buoyant comedy that invites viewers to laugh at its subject. He praises Hugh Grant’s nuanced performance, which brings self-interest, self-loathing and empathy together.

Walsh argues that the film’s moral message is muddled and ultimately unconvincing. She faults it for inviting viewers to laugh at Florence’s singing, then chastising them for doing so.

Hammond finds the film funny, heartfelt, and entertaining. He especially praises Meryl Streep’s performance, which makes Jenkins’s off-key singing both hilarious and touching.

The critic calls it a fine, funny and moving tribute, praising its affectionate performances and emotional balance. Streep’s skillful, deliberately awful singing is singled out as a particular marvel.

Goldberg finds the film warmhearted and enjoyable, though its treatment of Cosme feels underdeveloped. He especially praises Streep’s sincere, funny, and heartbreaking performance as Florence.

Shoemaker finds the film warm and moving, though somewhat conventional and smaller in scope than its story deserves. She especially praises the performances, singling out Simon Helberg’s comic timing and emotional tenderness alongside Meryl Streep and Hugh Grant.

Brew finds the comedy awkward and the film’s treatment of Jenkins uncomfortably mean-spirited. He praises the exquisitely staged sequences and period feel, as well as Streep and Helberg’s performances.

The review is uneasy about the film’s high embarrassment level and its portrayal of Florence as self-deluded, leaving its purpose uncertain. It praises Meryl Streep’s performance as flawless and singles out Simon Helberg for stealing the show.