Swept Away (2002)

The remake half works thanks to Ritchie's slick shooting and editing, but Madonna gives an ordinary, unremarkable performance as the socialite and the camera is merciless on her appearance.

The critic finds the film genuinely poor despite the pre-release backlash, calling it a failed remake that abandons its source's political elements for an unengaging central relationship. Madonna's character is singled out as one-dimensional and irritating.

The film is a misconceived and unappealing romantic comedy that lives down to its advance word of mouth. It strips the original's political content, resulting in a feature that makes very little dramatic or emotional sense and becomes a soppy romance then over-the-top tragedy.

The remake is not the total disaster expected, though the first half is unwatchable; it loses the original's class warfare and socio-political edge in favor of an S&M-tinged fantasy, with a sentimental compromise ending. Madonna gives a strong performance in the submissive role once the island strandings begin.

Ritchie's version softens the original's provocative class and sexual politics into a silly, lightweight romantic comedy that backfires, turning abuse and resentment into foreplay and laughs while burying any real point. It lacks conviction and ends up feeling like a misguided attempt to please everyone.

The misguided remake is a simple misfire rather than a world-class fiasco, alternating between the painless and turgid. The review singles out the lack of interest in class-divided social satire and the humorless headline performance for complaint.

The film is a soggy and superfluous motion picture that washes ashore as a pointless remake. Scott singles out the loss of the original's sharp-elbowed politics and the mechanical, heatless performances for complaint.

Ritchie's update is even less plausible than the original and proves incapable of sustaining a scene or mood. Dargis singles out the director's evident dislike of women and the debased, sadistic treatment of the female lead for complaint.

Guy Ritchie's insipid vehicle for his then-wife Madonna is a lifeless and occasionally misogynistic bore that went straight to video in the UK. Ritchie's direction and script are so unimaginative it's like watching a bad 1970s TV drama.

The remake is a sentimental misfire that strips away the original's politics and social observation, turning it into an inarticulate situation romance. Ebert singles out the lack of any juice or life in the characters and their conversations for complaint.

The critic views Ritchie's remake as an unnecessary and painful misfire that lacks the original's point or bite, resulting in one of the director's weakest efforts. Madonna's casting and the overall execution are singled out as particularly ill-advised.