|
75
|
Chicago Tribune Gene Siskel
The movie does command our attention because Hines and Baryshnikov, through their dancing, manage to create very real and living and hurting characters. [22 Nov 1985]
|
|
70
|
Time Richard Corliss
For all its superpower simplifications, White Nights has discovered in Baryshnikov a keen and passionate movie hero. Giggle at the film's naiveté; then feast on Misha and dance down the steppes.
|
|
63
|
Chicago Sun-Times Roger Ebert
It comes to life in the dance sequences, and then drifts away again.
|
|
63
|
TV Guide
The major problem with White Nights is that it tries to be so many things at once that it fails to be much of anything other than a vehicle to watch two of the best dancers around strut and tap their stuff.
|
|
40
|
The New York Times Vincent Canby
White Nights is only tolerable when Mr. Baryshnikov is on screen, especially when he is dancing alone or with Mr. Hines, with whom he does a couple of ballet-tap numbers that are of an order of excellence that has nothing to do with the rest of the movie.
|
|
40
|
Los Angeles Times Sheila Benson
At all times the wretched high-concept, low-intelligence story contrives to bring everything down to its sudsy level. [22 Nov 1985]
|
|
40
|
Chicago Reader Dave Kehr
Director Taylor Hackford shapes some engaging performances (the surly, withdrawn Baryshnikov of the early scenes is an intriguing figure) but never extricates himself from the plot machinery; this 1985 feature takes off only in the brief but well-filmed dance sequences.
|
|
38
|
The Globe and Mail (Toronto) Jay Scott
White Nights is too ponderous to have the pizzazz of trash and too dumb to have the insight of art - it's a lumbering behemoth of a film in which the extraordinary talent of its one authentic star, Mikhail Baryshnikov, is exploited in a Cold War cartoon that suggests a musical adaptation of Ayn Rand's anti- Soviet novel, We The Living. [22 Nov 1985]
|
|
38
|
Christian Science Monitor David Sterritt
The director, Taylor Hackford, doesn't have the cinematic savvy to sustain so many tensions in a meaningful way; and the screenplay strays far over the line between incisive political comment and heavy-handed Red-baiting.
|
|
20
|
Variety
Pic shies away from the world of classical dance, personified by leading man Mikhail Baryshnikov, in favor of Gregory Hines' 'improvography' and assorted modern stuff in blatant music video contexts.
|
