Average Rating: 7.3/10
Reviews Counted: 44
Fresh: 36 | Rotten: 8
No consensus yet.
Average Rating: 7.6/10
Critic Reviews: 10
Fresh: 9 | Rotten: 1
No consensus yet.
liked it
Average Rating: 3.5/5
User Ratings: 21,719
In Martin Scorsese's adaptation of Edith Wharton's 1920 novel, romance between an upper-class gentleman and an ostracized lady is doomed by 19th century New York society. Shortly after his engagement to blandly genteel May Welland (Winona Ryder), Newland Archer (Daniel Day-Lewis) is reacquainted with May's scandalous cousin Ellen Olenska (Michelle Pfeiffer). As the head of an esteemed family, Archer initially uses his standing to try to rehabilitate Ellen's reputation, but he finds himself
Oct 1, 1993 Wide
Nov 6, 2001
Columbia Pictures
All Critics (44) | Top Critics (10) | Fresh (36) | Rotten (10) | DVD (10)
Manages to be both personal and true to its source, though it never quite comes together.
An extraordinarily sumptuous piece of filmmaking.
Spurning Masterpiece Theatre twittiness, Scorsese cuts to the primal passions of Wharton's tale.
Mr. Scorsese has made a big, intelligent movie that functions as if it were a window on a world he had just discovered, and about which he can't wait to spread the news.
Scorsese shows he can flex an entirely different set of muscles and still make a great movie.
Perhaps it shouldn't come as such a grand surprise that he is as deft at exploring the nuances of Edwardian manners as he is the laws of modern-day machismo.
Day-Lewis and Pfeifer are on top form with Ryder giving the performance of her career.
Gorgeously shot, deceptively genteel period drama. Day-Lewis, Ryder and in particular Pfieffer give performances as polished as the silver and the result is slow, subtle but irresistibly powerful.
It shows that while conformity can stifle honesty and love, acting in mere self-interest can be even more destructive.
The Age of Innocence drags through some of the usual costume movie elements, but Scorsese's exuberance carries the show.
Scorsese's most poignantly moving film.
The movie seems a departure from Scorsese's turf of violence and lower class men, but Wharton's depiction of rigid milieu with its restrictive mores and emotional repression bears resemblance to Little Italy's male subculture.
A stylish but fairly forgettable Scorsese effort
The great tragedy is that the hypocrisies that Newland and Olenska work to reveal are the very same ones that ultimately destroy everything passionate and human within them.
A moving and impassioned work from one of the foremost filmmakers today.
Scorsese must stay away from period pieces.
Of course, this film doesn't allow for the usual Scorsese violence, but coming from him, I expected something a little more...intense. The look of this movie is amazing, with its gorgeous cinematography, it's as if you are watching a 2-hour long painting. But, apart from the aesthetic aspect, it also resembles a
July 10, 2008Super Reviewer
I'm okay with the movie because I liked the book. The direction is a bit odd. It seems like Marty Scorsese toned down his usual flashy cool to fit a staid period piece - the quick cuts to the food, the letters read to the camera.
July 10, 2010Super Reviewer
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