Critics’ reviews

Orlando (1992)

7 reviews from 7 publications. We need six from publications we count before we show a critics’ score; there are 3 so far.

Back to our review of Orlando

3 of 6
Positive
1
Mixed
1
Negative
1
Slant Magazine
19 July 2010 · Matthew Connolly
80*

The film succeeds through the perfect alignment of Woolf’s novel, Potter’s direction, and Swinton’s lead performance. The critic singles out Swinton’s nuanced portrayal of Orlando’s inner life and gender transformation for particular praise.

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Empire
1 January 2011 · Marcus Trower
60*

The film captivates the eye with its sumptuous design and Swinton's central performance but fails to fully deliver on its themes about sexuality and identity. The critic notes it is arty yet accessible and funnier than expected, though the core message is slight.

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Los Angeles Times
25 June 1993 · Kenneth Turan

Though visually impressive, the film is the hollowest of successes, all chic set design, smug posturing and self-satisfied attitude, with its core insubstantiality becoming evident as it repeats itself without emotional connection. The best way to experience it is to see the first half hour and then go home.

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The Independent
12 March 1993

The critic praises Potter for turning Woolf's literary fantasy into an original and deeply enjoyable film despite a tight budget. Visual gorgeousness, a light playful touch, and an ending of irresistible exhilaration are singled out for praise.

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The New York Times
6 June 1993 · Caryn James

The film is an original, intelligent triumph of lyrical yet argumentative filmmaking that distills Woolf's literary manner into sumptuous visual styles changing with the centuries. Potter's most provocative points concern the way history and nature shape sexual identity.

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Time Out
17 November 2015 · WH

The critic describes Potter's adaptation as a beautiful historical pageant of 400 years of English history, full of visual and aural pleasures, sly jokes, thought-provoking insights, emotional truths and romance. Swinton's magnificent performance as Orlando is highlighted, along with the cinematography's rare sensitivity.

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Eye for Film
6 August 2012 · Robert Munro
40*

The critic finds Sally Potter’s adaptation a frustrating enigma that flatters to deceive with its ravishing visuals and whimsical style but ultimately lacks emotional resonance, narrative drive or meaningful exploration of its themes. Swinton’s performance is noted positively but the film as a whole feels incidental and fails to engage the viewer with Orlando’s centuries-spanning journey.

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Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate