She sure was sad. Boy, look how sad she was. She must be bipolar or manic depressive or something. Sad, sad, sad. Oh, and then she killed herself. Sad, sad, sad.
| Original Score: C
Gwyneth Paltrow, who has never made a secret of her obsession with Plath, turns in a worshipfully calculated and awards-worthy performance as her idol.
| Original Score: 3/4
To what degree this portrayal is accurate is beside the question - as drama it's inert, and as biography it's unilluminating.
| Original Score: D
This is one of the better made and more believable films about poets, one that should be cherished for its rich depiction of its subjects.
| Original Score: B
This could be very dreary stuff if it weren't for Gwyneth Paltrow, who is pitch perfect as Plath.
| Original Score: 3.5/5
A prestige picture that doesn't have a lot going for it beyond its serious intentions.
Has the requisite dark tone and superb performances, but it feels simplistic in its examination of the tortured mind of a gifted woman
Paltrow does this role exceptionally well, but it is underwritten.
Much of this film plays to the audience's subconscious, forced to deal with the spirals of perverse intertwinement.
| Original Score: 84/100
Whether Plath's art and death were fueled by much beyond romance gone awry seems almost beside the point in this picture.
| Original Score: 2/4
The film's story is one that presents very little to dramatize, but that little has been dramatized very well.
| Original Score: 57/100
So dark, somber, and lifeless is this well-intentioned biography.
| Original Score: 2/5
Cinema and poetry aren't merely disparate art forms but largely incompatible ones.
| Original Score: 2/4
Paltrow delivers the most powerful performance of her career.
| Original Score: 4/5
You can learn more about Plath by reading the production notes than by seeing the movie.
| Original Score: 2.5/4
Falls short of its goal.
A biopic with little insight and fewer explanations.
Fails to reflect the enormous complexity of the tumultuous relationship between Ted Hughes and Plath.
The film never overcomes its biggest handicap: Poets express their inner state through their poetry. In the end, this film has been denied Sylvia's voice.
By choosing to make Hughes neither a monster nor sympathetic, the film likely will disappoint Plath acolytes while at the same time falling shy of being a revisionist interpretation of their relationship.