Critic Reviews



Based on 23 critic reviews provided by
A wholly original creation, crossed with shadows and light and the everyday madness of Savannah and its remarkable citizens.
Chicago Reader
Eastwood essentially uses the Lady Chablis the same way he did a few extended Charlie Parker solos in Bird--as unbridled, inventive improvisations that challenge the well-rehearsed "head" arrangements of everyone else.
The New Republic
Two aspects stand out. Clint Eastwood is not the first person we might think of to direct a film of leisurely pace, concerned with ghosts and a transvestite...Then there's Kevin Spacey, who grows before our eyes. [29 December 1997, p. 28]
Chicago Sun-Times
Clint Eastwood's film is a determined attempt to be faithful to the book's spirit, but something ineffable is lost just by turning on the camera: Nothing we see can be as amazing as what we've imagined.
The Globe and Mail (Toronto)
A sputtering marathon of a movie. It starts, it stops, it sprints, it stumbles, occasionally following a straight narrative line, frequently darting off on colourful if pointless tangents, often commanding our attention yet never sparking our imagination.
This is a movie that is wonderful on the peripherals.
The fans who have kept John Berendt's nonfiction tale on the best-seller list for more than three years may come away feeling they've seen "Perry Mason" on Valium. [1 December 1997, p.87]
A dragging, rhythmless piece of work.
Isn't an awful movie. It's got two charismatic, albeit ill-served leads in John Cusack and Kevin Spacey, and it's got a sizzling, tear-it-up performance by The Lady Chablis, who brings such good-natured sass and suggestiveness that you hunger for more whenever she's offscreen.
It is likely to disappoint the book's acolytes and tax the patience of newcomers. [1 December 1997, p.84]

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