Most critics find Amadeus a worthwhile reworking of the familiar rivalry, though the spread runs from enthusiastic praise to outright dismissal. Praise centres on the performances, particularly Paul Bettany’s tormented Salieri, and on the extra space given to relationships, personal tragedy and Gabrielle Creevy’s Constanze. Supporters find substance in its treatment of jealousy, faith and the burden of genius, rather than simply another retelling.
Reservations concern whether the longer format earns its length and whether theatrical spectacle comes at the expense of depth. Variety admires Bettany and the production design but finds that five episodes dilute the tension, with too little use of the music. The Guardian is the sharpest dissenter, finding the scenes lifeless and Will Sharpe’s Mozart thin; Digital Spy, by contrast, praises his emotional complexity. The central divide is over whether expansion deepens the story or makes its rivalry less compelling.