Nine Reviews

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Keith Uhlich
Time Out
November 17, 2011
Full Review | Original Score: 2/5
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Lisa Kennedy
Denver Post
December 28, 2009
Nine is, if not a grand work, terrifically tasty eye and ear candy. Two numbers -- from somewhat unexpected quarters -- are worth the price of admission alone.
Full Review | Original Score: 3/4
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Claudia Puig
USA Today
December 28, 2009
Nine should have been called 4 1/2 because it doesn't come close to the work of the master who inspired it.
Full Review | Original Score: 2/4
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Tom Long
Detroit News
December 28, 2009
The film suffers from the simple fact that its songs aren't memorable.
Full Review | Original Score: C
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J. R. Jones
Chicago Reader
December 28, 2009
It's a movie about a musical about a movie about a man's inner life -- surely we can eliminate some of the middle men.
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Bill Goodykoontz
Arizona Republic
December 26, 2009
There's a lot of high-powered star wattage in Nine, but it never generates much heat.
Full Review | Original Score: 2.5/5
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Richard Roeper
Richard Roeper.com
December 25, 2009
A half-dozen Oscar winners shine in this slick but satisfying musical.
Full Review | Original Score: 4/5
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Wesley Morris
Boston Globe
December 25, 2009
The movie is full of risible pontifications about the nature of art but falls well short of capturing the angst of creative frustration.
Full Review | Original Score: 2/4
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Colin Covert
Minneapolis Star Tribune
December 25, 2009
Nine expires in every sluggish, graceless scene.
Full Review | Original Score: 1.5/4
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Richard Corliss
TIME Magazine
December 25, 2009
Only Cotillard, as Guido's long-suffering wife Luisa, is in command of her character whether she's singing, speaking or just staring darts at her philandering mate.
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Ann Hornaday
Washington Post
December 25, 2009
It's a film within a film about a film within a film, and seems to lose layers of authenticity with each iteration, finally becoming a profoundly alienating experience.
Full Review | Original Score: 1/4
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Mick LaSalle
San Francisco Chronicle
December 25, 2009
John Lennon once said, "There's a great woman behind every idiot." This time, I'm counting seven of them.
Full Review | Original Score: 1/4
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Carrie Rickey
Philadelphia Inquirer
December 25, 2009
Rarely have so many Oscar-winners struggled so strenuously for such meager payoff.
Full Review | Original Score: 2.5/4
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Lawson Taitte
Dallas Morning News
December 25, 2009
The performances are all outstanding, even better than those in Marshall's Oscar-winning Chicago.
Full Review | Original Score: 4.5/5
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Peter Howell
Toronto Star
December 24, 2009
A fractured film about creative and coital conundrums that is best sampled like an array of Italian gelatos. In other words, don't complain about how it all works, just enjoy the yummy bits.
Full Review | Original Score: 3/4
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Joe Williams
St. Louis Post-Dispatch
December 24, 2009
The biggest problem is that the star in the center of this universe is a black hole. Daniel Day-Lewis is arguably the finest actor in the English-speaking world. He's also the least Italian guy imaginable.
Full Review | Original Score: 2.5/4
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Moira MacDonald
Seattle Times
December 24, 2009
A few vivid performances emerge from the clamor.
Full Review | Original Score: 2.5/4
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Liam Lacey
Globe and Mail
December 24, 2009
Only in its second half does the film start to show a suggestion of coherence.
Full Review | Original Score: 2/4
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Roger Ebert
Chicago Sun-Times
December 24, 2009
Nine is just plain adrift in its own lack of necessity.
Full Review | Original Score: 2/4
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Roger Moore
Orlando Sentinel
December 23, 2009
How can a movie starring six Academy Award-winning actors be such a bore?
Full Review | Original Score: 2/4
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Michael Phillips
Chicago Tribune
December 23, 2009
This has always been a show about the broads, and how they torment, tantalize, judge and revere the suffering mama's boy. The best way to approach Nine is as a fashion spread rather than an actual story.
Full Review | Original Score: 2.5/4
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Stephen Whitty
Newark Star-Ledger
December 23, 2009
A hugely theatrical, often enjoyable experience.
Full Review | Original Score: 3/4
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Lou Lumenick
New York Post
December 22, 2009
The jaw-droppingly awful Nine is the worst Broadway-to- Hollywood transfer since The Producers -- the cinematic equivalent of that movie's show "Springtime for Hitler."
Full Review | Original Score: 1.5/4
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Rene Rodriguez
Miami Herald
December 22, 2009
Like he did in Chicago, Marshall films and edits the hell out of the musical numbers, but Nike TV commercials look pretty cool, too.
Full Review | Original Score: 2/4
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Dana Stevens
Slate
December 22, 2009
We don't need to see Daniel Day-Lewis and Nicole Kidman sing a duet next to a Roman fountain any more than we need to see an elephant pirouette in a tutu, but wouldn't you be crazy to pass up the opportunity to see either?
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Kathleen Murphy
MSN Movies
December 18, 2009
It's all "a tale told by an idiot, full of sound and fury, signifying nothing." That, my friends, pretty much sums up this silly, formless spectacle. For all its razzle-dazzle and brouhaha, 'Nine' is a bore, fading from memory almost instantly.
Full Review | Original Score: 1/5
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Peter Rainer
Christian Science Monitor
December 18, 2009
It's still worth seeing Nine for Day-Lewis's bemused intensity and for the showstopping appearances by Sophia Loren (still looking great), Kate Hudson, Dame Judi Dench (yes, she sings), and Cruz.
Full Review | Original Score: B-
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A.O. Scott
New York Times
December 18, 2009
Straining to capture artistic frenzy, it descends into vulgar chaos, less a homage to Federico Fellini 1/2s 8 1/2 (its putative inspiration) than a travesty.
| Original Score: 0.5/5
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Dave Calhoun
Time Out
December 18, 2009
To give Day-Lewis his due, the actor grounds the film's sillier tendencies in a charming performance of mercurial despair.
Full Review | Original Score: 3/5
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Joe Morgenstern
Wall Street Journal
December 18, 2009
Loud, brash, brassy, sexy and sometimes tacky or silly, but always entertaining.
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Elizabeth Weitzman
New York Daily News
December 17, 2009
The numbers are flashy enough to entertain, and the cast appealing enough to appreciate. Just don't expect to fall in love.
Full Review | Original Score: 3/5
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Betsy Sharkey
Los Angeles Times
December 17, 2009
Perhaps Zero would have been a better name.
Full Review | Original Score: 1.5/5
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Keith Phipps
AV Club
December 17, 2009
Fellini provides a tough point of comparison for anyone, but maybe Nine should have stayed on the stage, where it could benefit from having a medium all to itself.
Full Review | Original Score: C
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James Berardinelli
ReelViews
December 16, 2009
Too often, the narrative portions of Nine feel like bridges to move from one song to the next. In the best musicals, song and dialogue blend seamlessly; that's not always the case here.
Full Review | Original Score: 3/4
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Peter Travers
Rolling Stone
December 16, 2009
Rob Marshall's flawed but frequently dazzling Nine is a hot-blooded musical fantasia full of song, dance, raging emotion and simmering sexuality.
Full Review | Original Score: 3/4
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Rex Reed
New York Observer
December 16, 2009
Onstage, there was so much glamour I couldn't decide whom to concentrate on. In the movie, they're so obnoxious I just wanted them to shut up and go home. The movie is busy, but in their failed homage to Fellini, they've lost his mystery and humor.
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Scott Foundas
Village Voice
December 15, 2009
Nine thrashes about in search of "cinema" the way a child thrown into the deep end of a pool flails for a flotation device.
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David Germain
Associated Press
December 15, 2009
Calculated to be show-stoppers, the songs often end up as quaint throwbacks.
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Anthony Lane
New Yorker
December 14, 2009
You long for the ghost of Lorenz Hart to be unleashed on the whole affair, with a hard blue pencil and a head full of rhymes.
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Owen Gleiberman
Entertainment Weekly
December 9, 2009
Marshall's staging lacks the thrilling unity he brought to Chicago. The numbers, while lively, remain cluttered and stage-bound.
Full Review | Original Score: C
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Kirk Honeycutt
Hollywood Reporter
December 4, 2009
The disappointments are many here, from a starry cast the film ill uses to flat musical numbers that never fully integrate into the dramatic story.
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Todd McCarthy
Variety
December 4, 2009
Sophisticated, sexy and stylishly decked out, Rob Marshall's disciplined, tightly focused film impresses and amuses as it extravagantly renders the creative crisis of a middle-aged Italian director, circa 1965.