Limelight - Movie Reviews - Rotten Tomatoes

Limelight Reviews

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Eric Melin
Lawrence.com
June 13, 2015
It was Chaplin's last great film, and it showcases not just a love for the performing arts (she's a ballerina, he's a vaudevillian), but also Chaplin's effortless sentimentality.
Full Review | Original Score: 3/4
Matt Brunson
Creative Loafing
June 11, 2015
This somewhat autobiographical piece goes heavy on the melodrama and employs humor in short bursts.
Full Review | Original Score: 3/4
Austin Trunick
Under the Radar
May 21, 2015
Some have also accused Limelight of being too sentimental, but we'd argue that's part of its charm.
Full Review | Original Score: 7/10
Top Critic
Roger Ebert
Chicago Sun-Times
August 8, 2011
What comes through most clearly in Limelight, however, is that Chaplin had come to terms with his life.
Full Review | Original Score: 3.5/4

TV Guide
August 8, 2011
Chaplin, as usual, is the whole show, superb in this swansong statement about his own career and the old-style entertainment he best represented.
Full Review | Original Score: 4/4
Top Critic

TIME Magazine
August 8, 2011
Intended as a tragicomedy, if not a tearjerker, it is a two-thirds bore that comes to life in the last half-hour or so, when the old-master clown stops trying to be pathetic and reverts to his inimitable proper stuff.
David Parkinson
Empire Magazine
March 9, 2011
Elements of self parody from the master of slapstick leave you yearning for the early work that made his name. But it's worth a watch to see Chaplin and Keaton in one of few on-screen appearances together.
Full Review | Original Score: 4/5
Christopher Lloyd
Sarasota Herald-Tribune
September 6, 2010
Limelight seems stuck in time, even for 1952. The un-ironic pathos and sentimental humanism seems almost quaint in the post-Hitler world. But that's Chaplin for you - a man who lived by, and wrote, his own rules.
Full Review | Original Score: 4.5/5
Top Critic
Variety Staff
Variety
March 26, 2009
Departing from most forms of Hollywood stereotype, the film has a flavor all its own in the sincere quality of the story anent the onetime great vaudemime and his rescue of a femme ballet student.
Dennis Schwartz
Ozus' World Movie Reviews
April 16, 2007
Chaplin's least funny film.
Full Review | Original Score: B-
Mark Bourne
DVDJournal.com
April 14, 2006
Premiering in 1952 when Chaplin was 63 years old, this melancholy reverie is a heartfelt expression of nostalgia for the Edwardian London music-halls of his youth, rich with deeply personal sentiment and warmly realized autobiographical fantasy.
Top Critic
Bosley Crowther
New York Times
March 25, 2006
Neither comedy nor tragedy altogether, it is a brilliant weaving of comic and tragic strands, eloquent, tearful and beguiling with supreme virtuosity.
Full Review | Original Score: 5/5
Top Critic
Geoff Andrew
Time Out
February 9, 2006
Few cinema artists have delved into their own lives and emotions with such ruthlessness and with such moving results.
Bob Bloom
Journal and Courier (Lafayette, IN)
January 27, 2006
Chaplin at his most melancholy. Not his best work, but the short time he and Keaton are on stage together is priceless.
| Original Score: 3/5
Carol Cling
Las Vegas Review-Journal
December 3, 2004
The at-long-last meeting of Chaplin and Keaton makes this a must.
| Original Score: 4/5
Jeffrey M. Anderson
Combustible Celluloid
June 21, 2004
One of the comedian's most revelatory works. It's Chaplin's most personal and painful film, and the only film to show his onscreen death.
Ken Hanke
Mountain Xpress (Asheville, NC)
August 14, 2003
The emotional honesty of the film is what made it a masterpiece.
Full Review | Original Score: 5/5

Film4
May 24, 2003
Moving, sentimental and deeply sad, this is the greatest moment in Chaplin's late career, a powerful work of cinema that remains essential viewing for Chaplin fans and non-believers alike.
Edgardo Cozarinsky
Senses of Cinema
March 26, 2003
It is Chaplin's own control over himself that is remarkable. His two most intense close-ups in the film also show him most distanced from his comic mask, and his acting is totally internalised.
Top Critic
Dave Kehr
Chicago Reader
January 1, 2000
Charles Chaplin's 1952 film is overlong, visually flat, episodically constructed, and a masterpiece.
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