Rebecca (2020)

The review finds plenty to like in Wheatley’s glossy, conventional adaptation, though Hitchcock’s version casts a long shadow. It singles out Kristin Scott Thomas’s deliciously vicious Mrs Danvers as the film’s standout.

The review text is inaccessible, so its verdict and specific praise or complaint cannot be established. No rating is visible in the available page content.

The accessible page identifies this as Halligan’s review of the 2020 adaptation, but does not reveal her verdict. No specific element of praise or complaint is visible in the supplied text.

Ehrlich finds the adaptation visually appealing but ultimately constrained by its source and unable to make its own identity. He praises Kristin Scott Thomas’s performance as Mrs. Danvers, while criticizing the romance and suspense for being weakened by side plots.

Simmonds describes Wheatley’s take on the material as an intriguing marriage of director and story. She singles out Kristin Scott Thomas’s formidable performance as Mrs Danvers.

Stables finds the remake a handsome, risk-taking romance that trades suspense for sweeping sadness. She praises Kristin Scott Thomas’s chilling performance but says the final-act changes fail to land.

Barsanti finds the film attractive but shallow, with its revelations delivered efficiently and without much surprise. He praises the grand design of Manderley and the cinematography’s gorgeous chiaroscuro, while faulting the leads for lacking depth and presence.

Vishnevetsky pans Wheatley’s adaptation as a tame, incoherent imitation that drains the story of its ambiguity. He singles out Kristin Scott Thomas, Ann Dowd, and Sam Riley for making the most of their entertaining supporting roles.

Debruge finds the remake watchable and distinct for much of its runtime, but says Hitchcock’s version overshadows it and the third act derails. He praises Kristin Scott Thomas for giving Mrs. Danvers effective new dimensions.

O'Sullivan strongly dislikes the adaptation, calling it anonymous despite its good looks. She singles out the casting of Lily James as too beautiful to make the heroine convincing.

Strong finds the adaptation a flat, miscast misfire that fails to bring new life to the familiar story. She singles out Kristen Scott Thomas as the lone bright spark, while criticizing the film’s failure to embrace the novel’s Gothic and queer subtext.

The critic finds the adaptation tasteful but dull and soporific, calling it a rare misfire for Ben Wheatley. The review’s main complaint is that its measured approach leaves the film sleepy.

The critic finds the adaptation polished and intermittently pleasurable, but ultimately conventional and impersonal. They praise its visual design, especially Manderley’s layered, distinctive interiors.

Bradshaw finds the adaptation intermittently enjoyable but overdressed and underpowered, with Max de Winter miscast as an obvious hunk. He praises moments of spectacle and disquiet, particularly the fancy-dress-ball sequence, while lamenting the lost suspense and pain.

Newland finds the film mostly bland, with its strongest ideas arriving too late to make it compelling overall. She praises Kristin Scott Thomas’s performance as Mrs Danvers and the modern perspective on Rebecca in the conclusion.

Chang finds the adaptation disappointing, saying it lacks patience and fails to sustain the story’s mysterious, romantic spell. He praises Kristin Scott Thomas for making Mrs. Danvers memorable and giving her emotional depth.

Rooney finds the adaptation blandly glossy and ultimately ineffective, despite being watchable and well acted. He praises the dazzling mirrored anteroom of Rebecca’s bedroom, while faulting the film’s weak atmosphere and suspense.

Syme finds the remake superficial and a disappointing retread that fails to deepen the story. She especially faults the casting and performances, which leave the film’s central tensions without emotional force.

Bastién pans the adaptation as a hollow, turgid retread that fails to bring fresh life or sensuality to du Maurier’s story. She singles out Kristin Scott Thomas’s precise, unsettling performance as the film’s bright spot.

The review finds Wheatley’s adaptation largely successful, though its third act feels rushed and confusing. It praises the atmospheric use of Manderley and the performances of the three leads.

Goldberg finds the adaptation haunting and visually striking, but says its third act loses the psychological force built earlier. He praises the lush cinematography and how Wheatley uses the setting to convey isolation and menace.

Sandwell finds the adaptation an uneven but often admirable romantic throwback, with its romantic side working better than its psychological chills. He singles out Kristin Scott Thomas’s nuanced, chilling performance, while faulting the opening’s slow pace and the rushed final act.

Kermode finds Wheatley’s adaptation an uncomfortable, distinctive take on the story, though it is imperfect. She especially praises Kristin Scott Thomas’s softly ambiguous Mrs Danvers and the film’s attention to class and the women’s perspectives.

The critic finds the adaptation slick but stifled, lacking urgency and failing to thrill. He praises the eerie Rebecca-bedroom sequence led by Kristin Scott Thomas, while criticizing the dull courtroom section.

Melis finds the adaptation visually appealing and intermittently thrilling, but says it plays too safely and falls short of its predecessor. He praises Lily James and Kristin Scott Thomas, particularly Scott Thomas’s chilling Mrs. Danvers.

The review finds the adaptation frustratingly mediocre, disappointing both fans of the original and of Ben Wheatley’s distinctive style. It singles out Kristin Scott Thomas’s Mrs Danvers and her unpredictable confrontations as the film’s best element.

Crump finds the adaptation dull and emotionally restrained, arguing it follows the novel without exploring its sensuality. He praises Kristin Scott Thomas’s chilling performance, while criticizing Armie Hammer’s blunt acting and the film’s lack of tension.

The critic finds the remake passable but lacking the suspense, wit, and romance of Hitchcock’s version. They praise its sumptuous period design, while faulting performances that are mostly overshadowed by the production values.

Nayman finds the remake frustratingly disposable and ultimately too timid to justify revisiting the story. He singles out Kristin Scott Thomas’s playful, cruel Mrs. Danvers and the evocative design of Manderley as standout strengths.