Critic Reviews

83

Metascore

Based on 21 critic reviews provided by Metacritic.com
100
Chicago Sun-Times
I have seen love scenes in which naked bodies thrash in sweaty passion, but I have rarely seen them more passionate than in this movie, where everyone is wrapped in layers of Victorian repression.
100
San Francisco Chronicle
Best "performances,'' however, are given by the movie's almost agonizingly beautiful historical settings -- luxurious households, rich architecture, furnishings, ornaments, draperies, fineries and such are often more captivating than the hushed tones of the lovers. [17 Sept 1993, Daily Notebook, p.C1]
100
USA Today
After watching Pfeiffer and Day-Lewis submerge molten 19th-century sparks here, it is now conceivable that Scorsese could make compelling cinema out of "Three Blind Mice." [17 Sept 1993, Life, p.1D]
100
Wall Street Journal
A magnificent movie. [19 Oct 1993, p.A18(E)]
100
Chicago Tribune
A great, velvety, beautiful anachronism. It's a movie almost drunk on romance, literature and cinema, a splendid period picture that keeps rashly breaking rules and boundaries [17 Sept 1993, Friday, p.A]
100
Christian Science Monitor
Thoughtful and reflective, it stands with the most exquisitely crafted films in recent memory, joining eloquently conceived images to an uncommonly literate screenplay. [17 Sept 1993, Arts, p.11]
100
ReelViews
A sumptuous motion picture, a feast for the senses.
100
The Globe and Mail (Toronto)
It comes eerily close to duplicating the experience of reading while, at the same time, remaining very much a motion picture. That's a rare, perhaps even unprecedented, achievement.
88
Day-Lewis is smashing as the man caught between his emotions and the social ethic. Not since Olivier in "Wuthering Heights" has an actor matched piercing intelligence with such imposing good looks and physical grace.
83
Entertainment Weekly
Up through its first half, The Age of Innocence is a masterfully orchestrated tale of romantic yearning.
80
TV Guide
Its loving exploration of the arcane workings of a closed society, that of wealthy, well-bred New Yorkers of the 1870s, has more in common than one might expect with Scorsese's earlier work, from "Mean Streets" through "Goodfellas."

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