Critic Reviews

75

Metascore

Based on 41 critic reviews provided by Metacritic.com
100
So tastefully mounted and brilliantly acted that it wears down even the corset-phobic's innate resistance to such things.
100
A career high point for Ralph Fiennes as both an actor and director, this unfussy and emotionally penetrating work also provides lead actress Felicity Jones with the prime role in which she abundantly fulfills the promise suggested in some of her earlier small films.
88
A meticulously rendered, tasteful and moving period drama.
88
The film represents a formidable achievement for Fiennes as both actor and director.
80
The Invisible Woman shies from propaganda just as Nelly shies from impropriety. Fiennes has done the right and proper thing here. He has, at 50, made a mature movie, prudent in the best possible sense.
80
Abi Morgan's script - better, for my money, than her work on either Shameor The Iron Lady - elegantly straddles two timelines to illuminate a deliberately obscured life
80
The movie deepens as Nelly, destined for the gossip columns and a peripheral attachment, becomes painfully aware of her own fragility (Jones's performance is devastating).
80
The Invisible Woman gives us a plausible image of the great man in the fullness of his celebrity, and an affecting portrait of the woman who lived much of her life in his shadow.
78
Fiennes and writer Abi Morgan mercifully forsake the gee-golly traditions of similar fame-minded fare...in constructing a narrative as emotionally repressed as its subjects must have been, with each character existing within their own arena of personal and social compromise.
75
Even if you don't entirely buy this version of events, director Ralph Fiennes has given us a speculation that works as drama. It's an elegant bit of goods.
75
Felicity Jones gives a fierce and moving performance as Nelly.
75
Though suffering from dry patches and a fairly mannered approach, The Invisible Woman eventually makes its way to a powerful final third documenting an ultimately tragic romance in deeply felt terms.
75
Mr. Fiennes admirably humanizes the characters while exploring their contradictions and emphasizing their feelings. But his no-frills direction is a bit stodgy for my taste, and although this is not the Dickens you'd ever pay to hear read "Little Dorrit," there's more vitality in his performance than the film itself.
75
Very good at pointing out the social difficulties surrounding the Dickens-Ternan relationship, the power dynamics within it and the lasting effects of it.
75
Fiennes holds it all together by force of what he does show us about the man, his kindness tempered with cruelty, the charity he practiced and preached, the morality he could never live up to. It's the visible great man who makes The Invisible Woman worth watching.
75
One of the singular pleasures of films like The Invisible Woman is the window they offer into the lives of deceased authors who are known primarily to modern audiences only through the words they committed to paper.
75
Beneath the period décor and lamp-lit elegance, this is a story of a profound emotional crime prompted by profound love.
75
The Invisible Woman offers a compelling glimpse at a life once hidden.
75
Jones (Like Crazy) gives Nelly's tragic plight a palpable anguish. There is no doubt that Dickens - who was mad about theater, about acting, about inhabiting other lives onstage and in the pages of his books - was in love with Nelly.
70
Jones delivers a quietly wrenching performance as a woman who comes to recognize too late how much of herself she's lost. It's subtle work in a film that is sometimes content to be a little too subtle.
67
[Fiennes] has rarely been better than he is as the 19th century's most celebrated novelist, with his chops on screen just about matched by what he's done behind.
63
By refusing to consider that Dickens and Ternan ever brought each other any happiness, the movie is more Victorian in its attitudes than even some Victorians were.
60
Directed tastefully by Ralph Fiennes, The Invisible Woman is very lovely to look at. But it lives up to its own title too well.
50
Ralph Fiennes's film feels not so much rooted in the past as it is mired in conventions about how to portray that past.

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