The Talented Mr. Ripley Reviews

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March 18, 2008
Familiarity is the watchword of this overblown opus, which neglects holes in the plot to play up its postmodern theme of identity as pastiche -- a clear case of the pot calling the kettle black.
September 23, 2007
Ripley morphs into a well-meaning kid who yearns to be somebody. He's deprived, not depraved.
July 14, 2007
The Talented Mr. Ripley is lovely wrapping without much to say.
May 26, 2006
The Master of Suspense would never have turned in a movie this sloppy.
December 6, 2005
When Law leaves in the middle, the whole film just sags.
October 21, 2002
It's a good ride. If you like a cat-and-mouse game, you'll like this.
April 2, 2001
A sub-Hitchcockian runaround.
January 1, 2000
Simply put, we miss Dickie. Minghella too successfully sucked us into the young playboy's world; talented or no, Mr. Ripley makes a dull substitute.
January 1, 2000
But like Ripley and his mission, this gorgeous film sabotages the bizarre journey it originally offered.
January 1, 2000
Minghella isn't going back to the modest style and the organic emotion of Truly, Madly, Deeply, his first and still his best film.
January 1, 2000
Matt Damon is simply not convincing in this role. Not only is his performance flat, but he is unable to generate any sense of menace.
January 1, 2000
The film was neither dark enough to horrify, nor emotionally engaging enough to really touch us, and Matt Damon's acting left us both non-plussed.
January 1, 2000
It's a sign of how watered-down the movie is that only the supporting actors have any bite.
January 1, 2000
About as facile and sidewinding as its main character.
January 1, 2000
Indifferently acted and insufficiently frightening.
January 1, 2000
January 1, 2000
Lo que pudo haber sido una buena cinta de suspenso se convierte en otro remake ms de los que ya estamos acostumbrados a ver
January 1, 2000
Perhaps at 90 or so minutes, it would have been the Hitchcockian thriller that it isn't at the beginning but turns into. At two hours and 20 minutes, there's too much of the film that feels like reiteration.
January 1, 2000
Instead of reaching to Hitchcockian heights of suspense and wonder, we are instead bogged down with a Tom Ripley that is more Alex Forrest than Norman Bates.
January 1, 2000
Lacking in emotional impact.
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