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The Great Gatsby

Drama . Romance

An adaptation of F. Scott Fitzgerald's Long Island-set novel, where Midwesterner Nick Carraway is lured into the lavish world of his neighbor, Jay Gatsby. Soon enough, however, Carraway will see through the cracks of Gatsby's nouveau riche existence, where obsession, madness, and tragedy await.

Actors: Adelaide Clemens , Callan McAuliffe , Amitabh Bachchan , Steve Bisley , Frank Aldridge , Jason Clarke , Isla Fisher , Elizabeth Debicki , Joel Edgerton , Carey Mulligan , Tobey Maguire , Leonardo DiCaprio , Lisa Adam
Directors: Baz Luhrmann
Release: 2013-05-10
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  • Rick Groen

    It’s a terrific adaptation that succeeds not only as a work of cinema but also, wonderfully, as proof of the novel’s greatness. In short, the picture rebukes the revisionists even while entertaining them.

    The Globe and Mail (Toronto) Full Review
  • Richard Roeper

    Amidst all the fireworks and the cascading champagne and the insanely over-the-top parties, we’re reminded again and again that The Great Gatsby is about a man who spends half a decade constructing an elaborate monument to the woman of his dreams.

    Chicago Sun-Times Full Review
  • Lou Lumenick

    Baz Luhrmann’s The Great Gatsby is the first must-see film of Hollywood’s summer season, if for no other reason than its jaw-dropping evocation of Roaring ’20s New York — in 3-D, no less.

    New York Post Full Review
  • Lawrence Toppman

    Now comes director Baz Luhrmann, who’s incapable of taking anything literally, and what do we get? The “Gatsby” that, of three I’ve seen and two I’ve read about, seems most faithful to the spirit of Fitzgerald’s superbly sad book. His audacity pays off in a way that may not exactly reproduce the novel but continually illuminates it.

    Charlotte Observer Full Review
  • Marc Mohan

    When the camera glides down a pier to settle for the first time on Gatsby's face, it's a movie-star moment of the sort we don't often get anymore, and there aren't many actors who could pull off Gatsby's mixture of confident charisma and pathetic vulnerability.

    Portland Oregonian Full Review
  • Steve Persall

    As a purely sensory experience at the movies you're hard-pressed to find anything more dazzling than the first 90 minutes of The Great Gatsby, when Luhrmann's riotous amusements make anything possible.

    Tampa Bay Times Full Review
  • Joe Williams

    The Great Gatsby is both swooningly romantic and giddily energetic.

    St. Louis Post-Dispatch Full Review
  • Roger Moore

    This movie hangs utterly on performance, and DiCaprio’s Gatsby is mesmerizing.

    McClatchy-Tribune News Service Full Review
  • Dana Stevens

    It is, as I suspected, a gargantuan hunk of over-art-directed kitsch, but it makes for a grandiose, colorful, pleasure-drenched night at the movies.

    Slate Full Review
  • Richard Corliss

    The actors emote up a summer storm. Maguire’s otherworldly coolness suits the observer drawn into a story he might prefer only to watch. DiCaprio is persuasive as the little boy lost impersonating a tough guy, and Mulligan finds ways to express Daisy’s magnetism and weakness.

    Time Full Review
  • David Edelstein

    You can find fault with virtually every scene in Luhrmann’s The Great Gatsby — and yet in spite of all the wrong notes, Fitzgerald (and the excess he was writing about and living) comes through. The Deco extravagance of the big party scenes is enthralling. Luhrmann throws money at the screen in a way that is positively Gatsby-like, walloping you intentionally and un- with the theme of prodigal waste.

    New York Magazine (Vulture) Full Review
  • A.O. Scott

    Less a conventional movie adaptation than a splashy, trashy opera, a wayward, lavishly theatrical celebration of the emotional and material extravagance that Fitzgerald surveyed with fascinated ambivalence.

    The New York Times Full Review
  • Stephanie Zacharek

    It's an expressionist work, a story reinvented to the point of total self-invention, polished to a handsome sheen and possessing no class or taste beyond the kind you can buy. And those are the reasons to love it.

    Village Voice Full Review
  • Todd McCarthy

    No matter how frenzied and elaborate and sometimes distracting his technique may be, Luhrmann's personal connection and commitment to the material remains palpable, which makes for a film that, most of the time, feels vibrantly alive while remaining quite faithful to the spirit, if not the letter or the tone, of its source.

    The Hollywood Reporter Full Review
  • Chris Nashawaty

    It's a dazzling time capsule of a shimmering era and a devastating look into the dark side of the American dream. Too bad Luhrmann, the caffeinated conductor, doesn't trust that story enough. He'd rather blast your retinas into sugar-shock submission. Uncle, old sport! Uncle!

    Entertainment Weekly Full Review
  • Matt Zoller Seitz

    Even when the movie's not working, its style fascinates. That "not working" part is a deal breaker, though — and it has little to do with Luhrmann's stylistic gambits, and everything to do with his inability to reconcile them with an urge to play things straight. Full Review
  • Ty Burr

    It has in Leonardo DiCaprio — magnificent is the only word to describe this performance — the best movie Gatsby by far, superhuman in his charm and connections, the host of revels beyond imagining, and at his heart an insecure fraud whose hopes are pinned to a woman.

    Boston Globe Full Review
  • Richard Larson

    This is a film which takes classic source material and imbues it on screen with a sense of wonder commensurate to its prior form, perhaps offering an even more visceral impression of the possibilities inherent to this beautiful, tragic world.

    Slant Magazine Full Review
  • Dave Calhoun

    What Luhrmann makes intoxicating is a sense of place – the houses, the rooms, the city, the roads – and the sense that all this is unfolding in a bubble like some mad fable. Where he falters is in persuading us that these are real, breathing folk whose experiences and destinies can move us.

    Time Out London Full Review
  • Jane Crowther

    Gatsby fans will be unoffended yet untransported, but soundtracks will sell, DiCaprio will be on bedroom walls again and new readers may discover the book - which is no bad thing.

    Total Film Full Review
  • Bill Goodykoontz

    The acting is really good, particularly Leonardo DiCaprio as Gatsby. But boy, with a running time of nearly 21/2 hours and a near-constant bombardment of visual overstimulation, it’s exhausting.

    Arizona Republic Full Review
  • Scott Foundas

    More often, Gatsby feels like a well-rehearsed classic in which the actors say their lines ably, but with no discernible feeling behind them.

    Variety Full Review
  • Ben Kenigsberg

    Like Romeo + Juliet (1996), Luhrmann’s version of The Great Gatsby emerges as a half-reverent, half-travestying adaptation that’s campy but not a betrayal, offering a lively take on a familiar work while sacrificing such niceties as structure, character, and nuance.

    The A.V. Club Full Review
  • William Goss

    In the end, his (Luhrmann) Gatsby takes the fitting form of a cocktail glass, at once undeniably polished and unfailingly empty. Full Review
  • Rodrigo Perez

    With the sound off, Baz Luhrmann’s The Great Gatsby surely looks as radiant and extraordinary as some of the most dazzling movies ever committed to celluloid, but with the sound up and the experience on full volume, the movie is mostly a cacophony of style, excess and noise that makes you want to turn it all down a notch...or three...

    The Playlist Full Review
  • Keith Phipps

    When Luhrmann finally reveals the title character, he does so as assorted partygoers work themselves into a frenzy, Rhapsody in Blue pounds on the soundtrack and fireworks explode in the sky...Unfortunately, the film is never again as successful; from here on, it has to dig into the bothersome business of telling Fitzgerald's story.

    NPR Full Review
  • Steven Rea

    There are so many things wrong with Luhrmann's Great Gatsby - the filmmaker's attention-deficit-disorder approach, the anachronistic convergence of hip-hop and swing, the choppy elision of Fitzgerald's plot, the jarring collision of Jazz Age cool and Millennial cluelessness. But at the crux of things, the problem is that it's impossible to care.

    Philadelphia Inquirer Full Review
  • James Berardinelli

    Tobey Maguire is fine as Nick but his function is more as an observer than a participant. Carey Mulligan's Daisy is unremarkable in every way. And Joel Edgerton is just a mustache twirl away from doing a Snidely Whiplash impersonation.

    ReelViews Full Review
  • Connie Ogle

    Luhrmann’s The Great Gatsby is a failure that should have at least been a magnificent mistake, a risky endeavor that showed a daring intent even if its brash vision didn’t quite succeed. Instead, the movie leaves you cold and weary and vaguely disgusted.

    Miami Herald Full Review
  • Ann Hornaday

    Childlike, fetishistic and painfully literal, Luhrmann’s experiment proves once again that it’s Fitzgerald’s writing — not his plot, his characters or his grasp of material detail — that has always made “Gatsby” great.

    Washington Post Full Review
  • Michael Phillips

    Despite a few good ideas and the uniformly splendid production and costume designs by Luhrmann's mate and partner, Catherine Martin, this frenzied adaptation of The Great Gatsby is all look and no feel.

    Chicago Tribune Full Review
  • Claudia Puig

    So much effort seems to have gone into the eye-popping production design, swooping camera work and anachronistic musical score that the result is hyper-active cacophony rather than enthralling entertainment.

    USA Today Full Review
  • Peter Rainer

    The Great Gatsby isn’t simply a classic American text: In Luhrmann’s hands, it’s also the greatest self-help manual ever written.

    Christian Science Monitor Full Review
  • Eric Kohn

    Luhrmann's The Great Gatsby has the hallmarks of a contemporary Hollywood spectacle. It's missing the explosions, but make no mistake: Gatsby is one glitzy misfire.

    indieWIRE Full Review
  • Ian Nathan

    Despite DiCaprio’s prize performance, purists will fume, but even as lit-crashing razzle-dazzle entertainment Luhrmann’s adaptation is a candelabrum too far.

    Empire Full Review
  • Elizabeth Weitzman

    Luhrmann piles on one shiny distraction after another. But amid all the seductively gaudy excess, DiCaprio finds both the heart and hurt buried within one of literature’s everlasting enigmas.

    New York Daily News Full Review
  • The director has steadfastly proclaimed his passion for the novel, but the film he's made of it too often plays as no more than an excuse to display his frantic, frenetic personal style.

    Los Angeles Times Full Review
  • Kimberley Jones

    Luhrmann has always had a knack with the fever of passion, but here he only catches high fever’s empty gibberish.

    Austin Chronicle Full Review
  • Andrew O'Hehir

    Whether or not Luhrmann’s “Gatsby” will go down in history as a legendary flop is not for me to judge (though all signs currently point toward yes), but it surely belongs to the category of baroque, overblown, megalomaniacal spectacles dubbed “film follies” by longtime Nation film critic Stuart Klawans. Full Review
  • Keith Uhlich

    Shorn of its quintessentially American roots, a biting tale of adult extravagance becomes insubstantially tween-aged.

    Time Out New York Full Review
  • Joe Morgenstern

    What's intractably wrong with the film is that there's no reality to heighten; it's a spectacle in search of a soul.

    Wall Street Journal Full Review
  • Peter Travers

    There may be worse movies this summer than The Great Gatsby, but there won't be a more crushing disappointment.

    Rolling Stone Full Review
  • Rex Reed

    I love the publicity quotes by Baz Luhrmann stating that his intention was to make an epic romantic vision that is enormous. Also: overwrought, asinine, exaggerated and boring. But in the end, about as romantic as a pet rock.

    New York Observer Full Review
  • Mick LaSalle

    The good news about Baz Luhrmann's adaptation of the Fitzgerald masterpiece is that he doesn't use the novel as a mere pretext for his own visual invention, but genuinely tries to capture the Fitzgeraldian spirit, and for the most part, despite some vulgar lapses, he succeeds.

    San Francisco Chronicle Full Review
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