The Great Gatsby (2013)

McCarthy finds the adaptation extravagantly over-the-top but ultimately vibrant and faithful to the novel’s spirit. He praises Leonardo DiCaprio’s charismatic performance and the lavish production design, while criticizing Nick’s distracting narration.

Edelstein finds the film flawed but ultimately worthwhile, with Fitzgerald’s novel and its themes coming through. He especially praises the extravagant party scenes for making the story’s prodigal waste feel vividly Gatsby-like.

Thompson finds the film an audacious, visually thrilling crowd-pleaser, though its story eventually sags into repetition. She especially praises the spectacularly choreographed Gatsby party, while noting the narrative’s thinness and recurring set pieces.

The review presents the film as a serious, big-scale drama with a contemporary attitude. It singles out the star power and hip style, but the paywall prevents access to the critic’s fuller verdict.

Pinkerton finds the film a flawed but compelling work, ultimately calling it a real movie. He especially praises Leonardo DiCaprio’s delicate, radiant performance as Gatsby.

Kenigsberg finds the adaptation lively and campy, but says it loses structure, nuance, and momentum. He praises the gaudy spectacle and strong casting, while faulting the drawn-out romance and lack of interest in the novel’s subtext.

Larson finds Luhrmann’s adaptation uneven but ultimately a party worth attending, despite its loss of Fitzgerald’s subtlety. He praises the larger-than-life performances and the soundtrack, especially Lana Del Rey’s song.

Papamichael finds Luhrmann’s adaptation a showy, polished success. She praises its lavish sets and its score, which blends Gershwin with modern music.

Calhoun rates the film three out of five, indicating a mixed verdict. The visible description points to Luhrmann’s talent for spectacle, but the review text is unavailable to identify a specific point of praise or complaint.

Foundas finds Luhrmann’s extravagant adaptation fascinating at first, but says its spectacle overwhelms the novel’s deeper meaning. He praises Catherine Martin’s production and costume design as a standout technical contribution.

Nathan finds the adaptation excessive and ultimately unsatisfying, despite its dazzling spectacle. He singles out Leonardo DiCaprio’s performance as the film’s standout strength.

Scott’s verdict is negative, finding Luhrmann’s adaptation excessive and confused rather than emotionally persuasive. He singles out its lavish visual spectacle, which cannot make up for the film’s lack of depth.

The critic finds the adaptation overblown and incoherent, with its spectacle overwhelming the delicacy of the novel. DiCaprio is singled out as the film’s strongest performer, while Carey Mulligan’s Daisy is criticized as unconvincing.

The critic finds the adaptation unsuccessful. She faults it for missing the punch and point of Fitzgerald’s classic.

Turan finds Luhrmann’s adaptation overwhelmed by its frantic style, leaving little room for the story’s dramatic interest. He praises Leonardo DiCaprio’s charismatic performance as Gatsby as the film’s main success.

French judges Luhrmann’s adaptation a misconceived, noisy film that tramples on Fitzgerald’s subtleties. He praises the Plaza hotel confrontation for its tension and depth.

Brody finds Luhrmann’s adaptation reductive and ultimately devoid of ideas. He faults its spectacle for lacking seduction and its performances for missing the characters’ complexity.

Crow finds the film an intoxicating, uniquely energetic Baz Luhrmann experience, though its glossy approach loses some of the novel’s moral complexity. He particularly praises the film’s vivid setting and Leonardo DiCaprio’s captivating performance as Gatsby.

Mathews finds the adaptation stylish and entertaining, but says its distractions keep it from capturing the novel’s deeper melancholy. He praises Leonardo DiCaprio’s performance and the film’s lively social satire, while criticizing its voiceover framing and distracting 3D.

Wilkinson finds Luhrmann generally in control, though he occasionally pushes the style too far. She praises the performances, especially DiCaprio, Maguire, and Mulligan, while finding Edgerton’s Tom unsuccessful.

The review finds the film’s lavish style excessive and emotionally hollow, despite its ambitious adaptation. It praises the spectacle and occasional strong performances, but says the visual and musical overkill overwhelms the story.

Bartlett finds the film flamboyant and romantic, though overlong and increasingly less effective in 3D. She praises DiCaprio’s layered performance and the controlled spectacle that preserves the central romance.

Goldberg gives Luhrmann’s adaptation a negative verdict, arguing that it turns Fitzgerald’s critique into a shallow doomed romance. He praises the dazzling costumes and production design, but says the spectacle overwhelms the story and its emotions.

The critic pans the film as dull, arguing that Luhrmann’s spectacle overwhelms the story and drains it of life. They single out the scattered performances and Elizabeth Debicki as the lone cast member with flair.