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75
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New York Daily News Elizabeth Weitzman
A vanity project so preposterous it deserves to become an instant camp hit.
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50
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Los Angeles Times Kevin Thomas
This skillfully made Italian heart-tugger was a success on home ground. Its star, Marco Filiberti, in an audacious writing and directing debut, has lots on his mind and much in his heart, and as a filmmaker displays a Douglas Sirkian flair for finding substance in melodrama.
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40
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The Hollywood Reporter Sheri Linden
Tries to be too many things, none very convincingly: plea for tolerance, docu-style character study, old-fashioned weepie.
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40
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TV Guide Ken Fox
It can make for entertainingly silly viewing, but it should come as no surprise that the film's plea for tolerance and unexpectedly tragic ending -- an unfortunate throwback to the Dark Ages of gays in films -- rings equally hollow.
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30
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The New York Times Dave Kehr
He's (Marco Filiberti) his own best audience, and Adored is best left to his own enjoyment.
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30
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Variety Deborah Young
Slipping from fantasy to soap opera without any authorial control, pic's best hope is to be recognized as some kind of cult movie of badness.
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30
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L.A. Weekly
This feeble comedy-tragedy has Sirkian aspirations but never misses an opportunity to settle for being flesh-friendly gay-film-festival fodder. This is a vanity project, not so much acted as posed.
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25
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San Francisco Chronicle
This clumsy, self-indulgent film veers from comedy to tragedy and is told in flashbacks, with treacly diary entries and unconvincing "testimonies" from friends providing a window into the past.
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25
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New York Post Jonathan Foreman
Not only is Adored amateurish and mawkish even by the standards of American "gaysploitation" cinema, it's weirdly shy about showing nudity and sex.
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20
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The A.V. Club Scott Tobias
Adored stands at the crossroads where Telemundo and beefcake magazines collide, but for strangers to that intersection, the film's camp value is exceeded only by its tedium.
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