The Libertine (2004)

Hutchinson praises Johnny Depp’s remarkable performance and finds the film’s approach to the Restoration era refreshingly grounded. He also singles out Samantha Morton’s performance and John Malkovich’s intriguing portrayal of Charles II.

The review calls the film a murky delight, praising its decadent wit and vulgarity despite a plot that struggles to gather momentum. It singles out Johnny Depp’s outrageous, charismatic performance as the film’s greatest strength.

French finds the film an intriguing and unusually strong character study, praising Johnny Depp’s powerful performance. He also singles out John Malkovich’s sardonic King Charles and Samantha Morton’s touching portrayal of Lizzie Barry.

The critic finds the film a fearless, engaging meditation, though its murky cinematography is a significant flaw. He especially praises the performances of Johnny Depp and Samantha Morton, whose scenes together give the film a strong center.

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The available metadata frames the review around an audience-baiting opening monologue. The article text is unavailable, so its overall verdict and any further praise or complaint cannot be established.

The review finds the film leaden and monotonous despite Depp’s entertaining performance. It singles out Samantha Morton for bringing bracing gravitas to the film.

Scott’s verdict is mixed, finding the film excessive in some ways and insufficient in others. The review centers on Johnny Depp’s portrayal of the Earl of Rochester as its chief draw.

Phipps finds the film dramatically directionless and its protagonist’s cynicism ultimately empty. He praises Johnny Depp’s immersive performance and Dunmore’s grimy London, but says neither gives the film a compelling purpose.

Lane finds the film dour and ultimately unfinished, despite its flashes of promise. He singles out the scene where Rochester teaches Elizabeth Barry to perform, praising the chemistry between Depp and Morton.

The critics find the film conventional and reductive, failing to convey the complexity of Rochester’s transgressions. They praise its grubby period atmosphere and Depp’s performance, while singling out the vivid depiction of Rochester’s physical decline.

Toy finds the film messy and dull, concluding that its story fails to hold interest. He praises Michael Nyman’s score but says the cinematography is foggy and the supporting performances are wasted.

Turan finds the film tiresome and emotionally unengaging despite Depp’s convincing performance. He praises Depp’s forceful opening scene but says the film fails to make the most of his interactions with Samantha Morton.

Morrall finds the film slow, flawed and ultimately not worth watching, despite its cast. He singles out Johnny Depp’s performance for praise, while criticizing the screenplay and Johnny Vegas’s performance.