(2003)

Critic Reviews

73

Metascore

Based on 41 critic reviews provided by Metacritic.com
100
As he did in “The English Patient,” Minghella artfully weds movie-movie romanticism with a dark historical vision. The man knows how to cast a spell.
100
Film Threat
As he did with “The English Patient,” director Minghella performs a miraculous juggling act, balancing his epic, sweeping story with the subtleties of character and detail that make Cold Mountain breathe.
100
A grand and poignant movie epic about what is lost in war and what's worth saving in life. It is also a rare blend of purity and maturity -- the year's most rapturous love story.
90
The Hollywood Reporter
A somber, often downbeat depiction of human savagery and treachery as well as of human kindness. Writer-director Anthony Minghella has meticulously crafted an intimate epic.
90
The New Yorker
A much better movie about the South during the Civil War than “Gone with the Wind”--visionary, erotic, and tragic where the older movie is flossy, merely ambitious and self-important. [22 & 29 December 2003, p. 166]
80
Variety
A grim picaresque odyssey across a beautiful scarred landscape laced together by private romantic longing. Handsomely made and vividly acted.
75
ReelViews
It's certainly a successful adaptation, features numerous memorable performances (mostly by the supporting players), and is worth a post-holiday expenditure of time and money.
70
New York Magazine (Vulture)
Cold Mountain has some marvelous, intimate moments and a real feeling, at times, for the loss that war engenders, but it also has more than its share of hokum--which would be more entertaining if the hokum were juicier.
70
Zellweger looks like a big movie star roughing it à la Paris Hilton, and as if this weren't distracting enough, the hills are alive with big acting names from both sides of the Atlantic who pop up as help or hindrance to Inman's pilgrim's progress while straining, with variable success, for credible Southern twangs.
67
Entertainment Weekly
Minghella's adaptation of the 1997 Charles Frazier novel is emotionally detached and almost too studiously carpentered: a willed exercise in mythmaking.

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