--- title: "Mary Queen of Scots" year: 2018 kind: "film" canonical: "https://film.one/film/mary-queen-of-scots" fi1m_id: "mary-queen-of-scots" imdb_id: "tt2328900" tmdb_id: 457136 wikidata_id: "Q37909408" fi1m_score: 56 critics_score: 55 critics_reviews: 23 published: "2026-10-03T00:31:10.139601+00:00" updated: "2026-10-03T00:31:10.671036+00:00" region: "HK" 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." --- # Mary Queen of Scots (2018) Directed by Josie Rourke · 2h 04m · OFNAA IIB · Drama, History ## Identity Mary Queen of Scots - **Canonical:** https://film.one/film/mary-queen-of-scots - **Type:** Film - **Fi1m ID:** mary-queen-of-scots - **IMDb ID:** tt2328900 - **TMDB ID:** 457136 - **Wikidata ID:** Q37909408 - **Same entity:** https://www.imdb.com/title/tt2328900/, https://www.themoviedb.org/movie/457136, https://www.wikidata.org/wiki/Q37909408 **Fi1m score: 56** · Critics 55 from 23 reviews *In a sentence:* Two queens and a supporting cast who seem to have brought briefing notes > Saoirse Ronan gives *Mary Queen of Scots* the authority its storytelling lacks. Josie Rourke’s historical drama has a strong cast and handsome craft, but its crowded court politics keep the two queens at an emotional distance. ## Synopsis Mary Stuart (Saoirse Ronan) seeks to exercise her authority while Queen Elizabeth I (Margot Robbie) faces a threat to her throne. Their rivalry draws questions of female power and fertility into the business of government. Lord Darnley (Jack Lowden), John Knox (David Tennant) and William Cecil (Guy Pearce) are among the men surrounding the queens, whose rank does not shield them from interference. At court, personal decisions carry political consequences, and the two rulers must weigh their own wishes against the demands of those around them. ## Review Josie Rourke approaches *Mary Queen of Scots* as a drama about two women whose authority remains vulnerable to the men around them. That is a promising way into a historical drama, especially with Saoirse Ronan and Margot Robbie playing the rulers. But Beau Willimon’s screenplay spends so much effort explaining the political complications that it neglects the people caught in them. This is a mixed film with persuasive performances, fine visual work and a frustrating habit of making its central struggle harder to care about than it should be. Saoirse Ronan gives Mary Stuart a determination that holds our attention even when the writing leaves her reasons unclear. Her confidence makes the character worth following without relying on our existing interest in royal history. We were frustrated by the court exchanges, because they repeatedly interrupted that interest with explanations instead of revealing what Mary thought. The dialogue supplies plenty of information about her position and too little about her thinking. Margot Robbie gives Queen Elizabeth I a guardedness that is useful beside Mary’s more direct force. The contrast creates some feeling for women whose public standing does not protect their private lives. Yet the film keeps insisting on what the queens have in common, and its treatment of fertility narrows them just when it wants to enlarge our understanding. The supporting characters suffer more: too many have political functions where clear motives ought to be. John Mathieson’s cinematography gives the court scenes an imposing formality, though that stateliness can make the talking feel slower. James Merifield’s production design makes the places of power persuasive enough that they do not need quite so much verbal explanation. Alexandra Byrne’s costumes help distinguish the queens as public figures, showing how much their appearance belongs to the job. There is pleasure in looking at this film. Too often, however, the people inside those carefully arranged surroundings are reduced to delivering information. Chris Dickens’s editing has a difficult job keeping the competing interests legible, and the film never finds a comfortable pace for all its court business. The opening keeps us waiting for a reason to care, while the accumulation of intrigue does not bring a matching increase in urgency. Max Richter’s score provides emotional continuity, but the music cannot make an unclear relationship compelling on its own. At 124 minutes, the film has enough time to make the secondary figures matter more than they do. A historical drama need not behave like a lesson, and accuracy alone would not make this one more involving. We do need to understand what somebody wants, what it will cost and why they cannot simply ask for it. Here the explanations are plentiful but the motives remain patchy, so the political manoeuvring becomes work. Josie Rourke is more convincing when she allows her leads to carry the feeling without making the dialogue announce its importance. Those coming for a gripping contest of royal wills should be prepared to do a good deal of untangling. *Fi1m score 56, published 3 October 2026.* ## What the critics say The consensus is mixed: most critics find more to admire in the performances than in the historical drama around them. Saoirse Ronan draws the most consistent praise for a commanding Mary, while many reviews also credit Margot Robbie with giving Elizabeth complexity and restraint. Several find the parallels between the queens emotionally compelling, particularly their struggles with male power. The costumes and visual presentation earn praise too, though handsome surroundings do not settle doubts about the storytelling. Reservations cluster around blunt exposition, crowded court intrigue and uneven pacing, with secondary motives often left unclear. Robbie’s performance divides opinion more than Ronan’s, as does the strength of the connection between the leads. The spread is wide: The Wrap welcomes a refreshing account of women constrained by men, while Vulture finds the attempt to reshape Mary as a modern underdog awkward and short of compelling ideas. ## Straight answers **Is Mary Queen of Scots worth watching?** *Mary Queen of Scots* is a mixed historical drama we score 56 out of 100, with more to offer admirers of Saoirse Ronan and Margot Robbie than anyone seeking a gripping royal rivalry. We admire the performances and carefully realised courts, but crowded political explanations, unclear motives and an uncomfortable pace keep the queens at an emotional distance. **How long is Mary Queen of Scots, and what is it rated?** *Mary Queen of Scots* runs 2h 04m and is rated IIB by the OFNAA in Hong Kong. It is a drama and history film. **Where can I watch Mary Queen of Scots in Hong Kong?** *Mary Queen of Scots* is available to rent from Apple TV from HK$28.00. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Mary Queen of Scots, and is it suitable for children?** *Mary Queen of Scots* carries a UK 15 certificate, making it unsuitable for children under 15. That classification indicates adult content, but we cannot give a specific account of violence or frightening material from the detail available; the certificate is the clearest guide for parents and viewers sensitive to such content. **How does Mary Queen of Scots compare to The Lion in Winter?** *Mary Queen of Scots* is the less rewarding royal drama beside [*The Lion in Winter*](https://film.one/film/the-lion-in-winter), which we recommend for its sharper wit and considerably clearer motives. Mary and Elizabeth’s struggle centres on female authority and male interference, while the other film makes succession a family quarrel; its plotting also circles, but its central performances keep the exchanges lively. **What should I watch after Mary Queen of Scots?** After *Mary Queen of Scots*, try [*The Lion in Winter*](https://film.one/film/the-lion-in-winter) (1968, Fi1m 81): A royal family argues over succession, with more wit and considerably clearer motives. Then [*Throne of Blood*](https://film.one/film/throne-of-blood) (1957, Fi1m 88): Ambition and marriage make power precarious, with far less patience for royal dignity; and [*The Favourite*](https://film.one/film/the-favourite) (2018, Fi1m 87): Court politics become intimate, spiteful and funny, with women allowed to behave badly. ### Reviews we read (23) - **Little White Lies**, David Jenkins (3/4/2): Jenkins finds the film lifeless and overly focused on exposition, leaving its central drama hollow. He praises Saoirse Ronan’s magnetic performance and convincing Scottish accent. [Read](https://lwlies.com/reviews/mary-queen-of-scots) - **Empire**, Helen O'Hara (70/100, inferred): O'Hara finds the film compelling overall, despite moments of historical implausibility and a weakly staged meeting. She praises Saoirse Ronan and Margot Robbie’s performances and their clash of personalities. [Read](https://www.empireonline.com/movies/reviews/mary-queen-scots-review/) - **The Guardian**, Benjamin Lee (70/100, inferred): Lee finds the drama darkly compelling and entertaining, though its historical liberties and uneven execution keep it from being fully successful. He praises Saoirse Ronan’s commanding performance while criticizing Margot Robbie’s unconvincing Elizabeth. [Read](https://www.theguardian.com/film/2018/nov/16/mary-queen-of-scots-review-saoirse-ronan-josie-rourke) - **The Hollywood Reporter**, Todd McCarthy (70/100, inferred): McCarthy finds the film a spirited, timely take on a familiar story, though its exposition can feel blunt. He praises Ronan’s fierce performance and the compelling bond between the two queens. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/mary-queen-scots-review-1159819/) - **Screen Daily**, Tim Grierson (64/100, inferred): The review’s overall verdict is not available in the page text. It singles out Saoirse Ronan and Margot Robbie for strong performances. [Read](https://www.screendaily.com/reviews/mary-queen-of-scots-review/5134384.article) - **The AV Club**, Jesse Hassenger (C+): The review finds the film handsome and competent but ultimately lopsided and unsatisfying. It praises the compelling connection between Ronan and Robbie’s characters, especially their rare shared scene and the directness of the final shots. [Read](https://www.avclub.com/like-a-costume-drama-heat-mary-queen-of-scots-keeps-sa-1830833759) - **Los Angeles Times**, Kenneth Turan (60/100, inferred): Turan finds the film’s promise only partly realized, despite its compelling central performances. He praises Saoirse Ronan and Margot Robbie’s commanding work, while faulting the pulpy, excessively theatrical direction. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-mary-queen-of-scots-review-20181205-story.html) - **Time Out**, Joshua Rothkopf (3/5): The critic finds the period piece less exciting than it should be. The female rivalry offers an intriguing premise, but the film does not make the most of it. [Read](https://www.timeout.com/movies/mary-queen-of-scots-1) - **Total Film**, Kate Stables (3/5): The review finds the biopic richly packed but over-ambitious, with its court intrigue sometimes obscuring the plot. It praises Saoirse Ronan’s commanding performance, especially in the rivals’ meeting. [Read](https://www.gamesradar.com/mary-queen-of-scots-review/) - **Radio Times**, Alan Jones (55/100, inferred): The review finds the film an enjoyable enough journey but otherwise dull. It praises Saoirse Ronan’s performance as Mary over Margot Robbie’s Elizabeth. [Read](https://www.radiotimes.com/movies/mary-queen-of-scots-review-a-worthy-journey-through-the-usual-monarch-mayhem/) - **Slant Magazine**, Derek Smith (2/4): Smith finds the film’s feminist framing compelling but says its palace intrigue becomes overly familiar and underdeveloped. He praises the emotionally resonant parallels between Mary and Elizabeth, while faulting the film for leaving secondary characters and their motives murky. [Read](https://www.slantmagazine.com/film/mary-queen-of-scots/) - **Evening Standard**, Matthew Norman (2/5): Norman finds the film a tedious, poorly written historical drama that fails to make its central rivalry compelling. He praises Saoirse Ronan’s performance, while faulting the script for leaving her character indistinct. [Read](https://www.standard.co.uk/culture/film/mary-queen-of-scots-review-its-queen-vs-queen-but-the-audience-are-the-real-losers-here-a4042431.html) - **Variety**, Peter Debruge (35/100, inferred): Debruge finds the film overloaded and narratively incoherent, despite its strong cast and stylish direction. He praises Robbie’s convincing transformation as Elizabeth, while criticizing the dizzying plot for lacking connective tissue. [Read](https://variety.com/2018/film/festivals/mary-queen-of-scots-review-1203029720/) - **The New Yorker** (30/100, inferred): The critic finds the film lavish but dramatically vague and ultimately bland. They fault it for lacking the psychological acuity and political reflection needed to develop its ideas. [Read](https://www.newyorker.com/goings-on-about-town/movies/mary-queen-of-scots) - **The New York Times**, Manohla Dargis (30/100, inferred): The review is negative about the film. It singles out the lack of chemistry between its two leads as a weakness. [Read](https://www.nytimes.com/2018/12/06/movies/mary-queen-of-scots-review.html) - **Vulture**, Emily Yoshida (20/100, inferred): Yoshida finds the film painfully old-fashioned and ultimately without compelling ideas. She faults its awkward, ahistorical effort to recast Mary as a modern underdog, especially its fixation on fertility and virginity. [Read](https://www.vulture.com/2018/12/mary-queen-of-scots-review.html) - **The Wrap** (85/100, inferred): The critic finds the film an intense, refreshing portrayal of two queens whose lives are shaped by male power. They praise Saoirse Ronan and Margot Robbie for making both rulers feel complex and compelling. [Read](https://www.thewrap.com/mary-queen-of-scots-film-review-saoirse-ronan-margot-robbie/) - **Collider**, Perri Nemiroff (B-): Nemiroff finds the film flawed by a slow, detached beginning but ultimately compelling. She praises Ronan and Robbie’s performances and the chilling convergence of their characters’ struggles for power. [Read](https://collider.com/mary-queen-of-scots-review/) - **/Film**, Hoai-Tran Bui (6.5/10): Bui finds the film stale and narratively aimless despite its progressive intentions. She praises Saoirse Ronan and Margot Robbie’s convincing, nuanced performances. [Read](https://www.slashfilm.com/562831/mary-queen-of-scots-review-saoirse-ronan-and-margot-robbie-rule-in-a-progressive-but-stale-period-drama/) - **The Skinny**, Caitlin Quinlan (★★★): The review finds the film valiant but hindered by structural and pacing problems. It praises Saoirse Ronan and Margot Robbie’s bold, sensitive performances, especially in the imagined meeting between the queens. [Read](https://www.theskinny.co.uk/film/new-releases/mary-queen-of-scots) - **Consequence**, Allison Shoemaker (50/100, inferred): Shoemaker finds the film visually sumptuous and compelling in places, but ultimately frustrating because its screenplay rarely matches its performances and artistry. She particularly praises Saoirse Ronan and Margot Robbie’s performances and Alexandra Byrne’s richly meaningful costumes. [Read](https://consequence.net/2018/12/film-review-mary-queen-of-scots/) - **Den of Geek**, David Crow (2.5/5): The review finds the film handsome but unfocused, with its divided attention undermining Mary’s story. It praises the performances of Saoirse Ronan and Margot Robbie, especially their eventual scenes together. [Read](https://www.denofgeek.com/movies/mary-queen-of-scots-review-margot-robbie/) - **Eye for Film**, Angus Wolfe Murray (40/100, inferred): The review finds Mary’s story unsatisfying and unresolved. It singles out Margot Robbie’s stern, composed portrayal of Elizabeth as a strength. [Read](https://www.eyeforfilm.co.uk/review/mary-queen-of-scots-2018-film-review-by-angus-wolfe-murray) ## Details - **Director:** Josie Rourke - **Director:** Josie Rourke - **Screenplay:** Beau Willimon - **Cinematography:** John Mathieson - **Editor:** Chris Dickens - **Music:** Max Richter - **Production design:** James Merifield - **Costume design:** Alexandra Byrne - **Producer:** Eric Fellner, Debra Hayward, Tim Bevan - **Cast:** Saoirse Ronan as Mary Stuart; Margot Robbie as Queen Elizabeth I; Jack Lowden as Lord Darnley; David Tennant as John Knox; Guy Pearce as William Cecil; Gemma Chan as Bess of Hardwick; James McArdle as James, Earl of Moray; Ismael Cruz Cordova as David Rizzio - **Runtime:** 2h 04m - **Certificate (OFNAA):** IIB - **Release (Hong Kong):** 28 March 2019 - **Genres:** Drama, History - **Budget:** $25 million - **Box office:** $47 million - **Trailer:** https://www.youtube.com/watch?v=Ot5MHftOT7g ## Where to watch in Hong Kong - Apple TV: rent HK$28.00, hd - Apple TV: buy HK$78.00, sd *Checked 2026-10-03.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IN, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2019: Best Costume Design (nominated) ## If you liked this - *The Lion in Winter* (1968), Fi1m 81: A royal family argues over succession, with more wit and considerably clearer motives. — [Fi1m page](https://film.one/film/the-lion-in-winter.md) - *Queen Margot* (1994): Religious hostility and royal marriages turn court politics into something sweaty and dangerous. - *Throne of Blood* (1957), Fi1m 88: Ambition and marriage make power precarious, with far less patience for royal dignity. — [Fi1m page](https://film.one/film/throne-of-blood.md) - *Wolf Hall* (2015): Patient performances and carefully explained court politics make every apparent courtesy worth watching. - *The Favourite* (2018), Fi1m 87: Court politics become intimate, spiteful and funny, with women allowed to behave badly. — [Fi1m page](https://film.one/film/the-favourite.md) --- © 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/mary-queen-of-scots