Juliet, Naked (2018)

Turan calls the film a rare, charming, smart, and heartfelt adult comedy that should not be missed. He particularly praises the cast’s performances and the convincing songs, noting Ethan Hawke’s casual charm and Rose Byrne’s emotional depth.

The critic finds it a gently winning, charming romantic comedy, though somewhat mild and short of a knockout. He praises the film’s comic timing and singles out its scene where Tucker confronts his biggest fan.

The four-star rating indicates a positive verdict on this romantic comedy. The page emphasizes that its title does not signal the sex or nudity one might expect.

Edelstein welcomes the film as a literate, unpredictable revival of the mainstream romantic comedy. He especially praises Rose Byrne’s performance, while finding the replacement ending a little pat.

The review finds it a sharp-witted, amusing and genuinely moving romantic comedy. It praises the performances of Rose Byrne and Ethan Hawke, while noting that Chris O’Dowd feels out of step with the rest of the cast.

The accessible page does not reveal the critic’s verdict because the review text is behind a paywall. Its standfirst highlights Rose Byrne’s character caught between two men, but offers no specific praise or complaint.

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

D’Angelo finds the romantic comedy tepid and overburdened by earnest emails, exposition, and contrived plot turns. He praises Rose Byrne’s performance and notes that the film occasionally captures pop culture’s powerful effects on its fans.

The critic finds the film charming in parts but ultimately twee and forgettable. Byrne and Hawke’s rapport earns praise, while the meagre storyline and cloying dialogue draw criticism.

The review finds the romantic comedy only intermittently engaging. It singles out the love-triangle hijinks as unevenly effective.

Ehrlich finds the adaptation lifeless and tonally uncertain, with an underdeveloped romance. He praises Byrne and Hawke’s watchability, but says their charisma cannot rescue the film.

Smith finds the film too scattershot to develop its themes or character arcs convincingly. He singles out its inconsequential detours and questionable character psychology as key weaknesses.

McCarthy finds the film passably amusing but overly safe and conventional, with too little comic momentum. He praises the well-cast lead performers, while faulting the writing and direction for keeping the comedy mild-mannered.

The critic finds the film emotionally hollow despite its comic setup. Rose Byrne’s graceful wit is praised, while the convenient plot twists and impersonal characters are faulted.

Hoffman finds the film flat and poorly conceived despite its humor and happy ending. He singles out Rose Byrne’s finely observed, charming performance for praise.

The critic finds the film a lovely, low-key comedy with a rock ’n’ roll heart. They especially praise its performances and its sharp depiction of music fandom and the bond between art and fans.

Crow finds the film a breezy, affectionate romantic comedy, though not a particularly demanding one. He especially praises Rose Byrne’s warm, nuanced performance as Annie.

Prokopy finds the film charming and engaging despite occasional imbalance and an unnecessary neat ending. He particularly praises Rose Byrne’s nuanced performance and the film’s thoughtful exploration of music fandom and second chances.

The critic finds the film worthwhile despite its familiar romantic-comedy tropes. Ethan Hawke’s performance and the film’s exploration of toxic fandom stand out most positively.

Ellwood finds that the film does not work, with its confused tone and lack of laughs undermining the story. He praises Rose Byrne for giving Annie depth, while regretting that the script leaves her comedic talents underused.

Roffman finds the adaptation emotionally thin and unfocused, despite its promising talent and source material. He praises Ethan Hawke’s performance but criticizes the film’s rushed pacing and underdeveloped supporting characters.

Wilkinson finds the film safe, unoriginal and emotionally inert, despite its amiable moments. She praises Rose Byrne and Ethan Hawke’s performances as the elements that most help salvage the material.