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Diana

6/10
Drama . Romance . Biography
 

During the last two years of her life, Princess Diana (Naomi Watts) campaigns against the use of land mines and has a secret love affair with a Pakistani heart surgeon (Naveen Andrews).

 
Actors: Michael Byrne , Laurence Belcher , Juliet Stevenson , Geraldine James , Cas Anvar , Lee Asquith-Coe , Douglas Hodge , Charles Edwards , Naveen Andrews , Naomi Watts , James Puddephatt
Directors: Oliver Hirschbiegel
Country: UK , FRANCE , SWEDEN , BELGIUM
Release: 2013-09-20
More Info:
  • Roger Moore

    Watts masters Diana’s look — the way she carried her head and used those wide, coyly expressive eyes — but is only passable at impersonating the voice.

    McClatchy-Tribune News Service Full Review
  • Manohla Dargis

    Anchored by Ms. Watts’s sympathetic performance, it humanizes the woman behind the smile, the helmet hair and the myth.

    The New York Times Full Review
  • Robert Abele

    Flawed yet intimate, Diana respects its subject's hopes, strengths, weaknesses and legacy and, in the extraordinary Watts, boasts a formidably empathetic advocate.

    Los Angeles Times Full Review
  • Joshua Rothkopf

    Watts’s work is extraordinary, sometimes keying off the same illicit register as "Mulholland Drive"; she risks being goofy, awkward and bratty.

    Time Out New York Full Review
  • Steven Rea

    In truth, the only hazardous material to be found in Diana - the title role assumed bravely, if mistakenly, by Naomi Watts - is the screenplay.

    Philadelphia Inquirer Full Review
  • Mick LaSalle

    It's a gallant battle against flawed material, and Hirschbiegel fights it to a draw.

    San Francisco Chronicle Full Review
  • Ignatiy Vishnevetsky

    There’s a germ of a smart biopic in Diana; the problem is that it’s tucked away behind a clunky structure and even clunkier dialogue.

    The A.V. Club Full Review
  • Richard Roeper

    It’s a fractured fairy tale, penned in clunky strokes.

    Chicago Sun-Times Full Review
  • Amy Nicholson

    Diana is a Lifetime movie in sensible pumps, at once too silly to be taken seriously, yet so self-serious it rarely allows us to giggle.

    Village Voice Full Review
  • Kate Erbland

    The result is a film that grows worse with each passing minute, as the vibrant and complex Diana is reduced down to a daft, dumbstruck love addict, a biopic that tries desperately to humanize an already beloved and relatable human being and makes her look comically idiotic and empty in the process.

    Film.com Full Review
  • Bill Goodykoontz

    The story of her life is pretty well-known. But in Diana, it’s not particularly well told.

    Arizona Republic Full Review
  • Keith Phipps

    The amusements here are mostly of the unintentional kind.

    The Dissolve Full Review
  • Stephen Dalton

    Halfway between a guilty pleasure and a missed opportunity, it makes the crucial mistake of treating curious viewers like deferential subjects, demanding far more sympathy than it deserves.

    The Hollywood Reporter Full Review
  • David Gritten

    It’s hardly fascinating. It doesn’t offer new facts about the Princess’s life. And it certainly doesn’t explain her complexity or contradictions.

    The Telegraph Full Review
  • Charles Gant

    While mostly swerving past the pitfall of tastelessness, this sincerely intended account of the last two years of Princess Diana’s life risks an even more perilous roadblock: dullness.

    Variety Full Review
  • James Berardinelli

    Sixteen years after her death, Princess Diana is still capable of generating interest, which is probably the only reason why this dull, pointless movie was greenlighted.

    ReelViews Full Review
  • Claudia Puig

    This wrongheaded biopic that bears her name does nothing to burnish her legacy. In fact, the tedious movie lacks any insight into the characters involved, and surely would have the late Princess of Wales rolling in her grave. And it can't be easy on her sons to see their mother depicted in such a one-dimensional fashion.

    USA Today Full Review
  • Ty Burr

    Hirschbiegel and Watts don’t have the nerve for camp. Even a scene of a rejected Diana back at Kensington, forlornly playing Bach at her piano while mascara streams down her face, is played gloomily straight.

    Boston Globe Full Review
  • Louis Black

    Ultimately, it is as though this is a Disney film – The Princess and the Doctor – not a real life biopic.

    Austin Chronicle Full Review
  • Ali Arikan

    This narcissistic quality is the film's true undoing.

    RogerEbert.com Full Review
  • Stephanie Merry

    Diana isn’t just an egregious case of rewriting history, but one of oversimplifying it.

    Washington Post Full Review
  • Lou Lumenick

    The schmaltzy Diana is directed at a dirge-like pace by German director Oliver Hirschbiegel, whose film “Downfall’’ depicted the final days of Hitler and provided one of the Internet’s most enduring memes.

    New York Post Full Review
  • Elizabeth Weitzman

    You certainly won’t learn anything of interest about the Princess of Wales in Oliver Hirschbiegel’s misguided new biopic. But Diana can be declared a success in one regard — its vacant inanity serves to remind us of the perpetual indignities forced upon this unlucky Lady.

    New York Daily News Full Review
  • Cath Clarke

    A right royal mess.

    Time Out London Full Review
  • Angie Errigo

    More terrible and tacky than one could have imagined, it will soon be forgotten and consigned to the True Movies channel to play alongside television movies about Karen Carpenter, Jayne Mansfield and Jackie Kennedy.

    Empire Full Review
  • Peter Bradshaw

    Poor Princess Diana. I hesitate to use the term "car crash cinema". But the awful truth is that, 16 years after that terrible day in 1997, she has died another awful death.

    The Guardian Full Review
  • Kevin Jagernauth

    A thoroughly dull, conventional tale of two people who can't find a compromise on their individual priorities to be together.

    The Playlist Full Review
  • Eric Henderson

    Are the micro-biopics that don't even bother to provide overviews of their famed subjects' entire lives, but instead lean on the spectacle of celebrity impersonation, the new camp?

    Slant Magazine Full Review
  • Steven Rea

    Her life, and her work, transcended what we think of as "fashion."

    Philadelphia Inquirer Full Review
  • Diego Semerene

    The film captures Vreeland's perhaps unwitting philosophical integrity just as much as it drowns us in the exuberance of her work.

    Slant Magazine Full Review
  • Joe Morgenstern

    Like no one before or since, she had what she valued most in others - good, old-fashioned pizazz.

    Wall Street Journal Full Review
  • Betsy Sharkey

    Remarkably, much of that sizzling sensibility was caught on film and has been stylishly stitched together with her personal history in the scrumptious new documentary, Diana Vreeland: The Eye Has to Travel.

    Los Angeles Times Full Review
  • Damon Wise

    Bursting with insights and a droll sense of the absurd side of fashion, it's a fitting tribute to one of the industry's key figures.

    Empire Full Review
  • Stephanie Merry

    The documentary mostly steers clear of Vreeland's home life. Little attention is paid to her husband or her children, and that may be partly because Vreeland didn't seem to have much time for them, according to interviews with her two sons.

    Washington Post Full Review
  • Peter Rainer

    As the "Empress of Fashion" who was the fashion editor of "Harper's Bazaar" before editing "Vogue" in its 1960s heyday, Vreeland comes across in the movie as something of a cross between Auntie Mame and Godzilla. She was a true original in a world where knock-offs abounded.

    Christian Science Monitor Full Review
  • Carolyne Zinko

    A captivating 86-minute film by Lisa Immordino Vreeland, who is married to one of Vreeland's grandsons.

    San Francisco Chronicle Full Review
  • Wesley Morris

    The movie has a lot going for it. In less than 90 minutes, it walks us through sketches of Vreeland's private life and the formulation and decades-long execution of her philosophy in the pages of Harper's Bazaar and Vogue. The energy here is a selling point.

    Boston Globe Full Review
  • Lisa Schwarzbaum

    This is a pretty, surface-y documentary rather than the kind of exciting one Vreeland would have demanded, declaring, "You gotta have style!"

    Entertainment Weekly Full Review
  • Farran Smith Nehme

    The filmmakers are clearly fans, and any of Vreeland's personal shortcomings - child-rearing, for instance - are only hinted at.

    New York Post Full Review
  • Jay Weissberg

    When discussing tastemakers of the 20th century, few names conjure "style" with the zest of Diana Vreeland, and documentary The Eye Has to Travel gets the zing just right.

    Variety Full Review
  • Manohla Dargis

    Dizzily enjoyable documentary.

    The New York Times Full Review
  • Mary Pols

    The mind may clamor for more, but the eye, traveling over this visual history of Diana Vreeland, is pleased.

    Time Full Review
  • Kimberley Jones

    She knew what "it" was going to be before anyone else. Or maybe she invented "it," and the magazine-buying public simply did as they were told.

    Austin Chronicle Full Review
  • Amy Verner

    It's clear the director's proximity to the family stopped her from going into uncomfortable territory. We never learn much about Vreeland's husband or how his wife's high profile and dedication to work affected their relationship.

    The Globe and Mail (Toronto) Full Review
  • Andrew Pulver

    She's entertaining enough, and like most fashion documentaries, it's a mine of pop-cultural history, but the unswervingly generous assessment of her achievements and permanently arch vocal style become a little wearying.

    The Guardian Full Review
  • Elizabeth Weitzman

    While plenty of talking heads turn up to offer breathless praise, it's no surprise that the preeminent words of wisdom are, thanks to copious archival footage, Vreeland's own.

    New York Daily News Full Review
  • Melissa Anderson

    The outsize ideas, creativity, and spirit of this birdlike, unconventional-looking woman - called "my ugly little monster" by her mother, Vreeland resembles John Hurt in a jet-black wig - still dominate a project occasionally lacking the same attributes.

    Village Voice Full Review
  • Keith Uhlich

    Anna Wintour? Feh! There never was, and never will be, a style icon quite like Diana Vreeland.

    Time Out New York Full Review
  • Carmen Gray

    A fashion world Who's Who offer accolades, while Vreeland's vulnerabilities are revealed in interviews telling how, ridiculed by her socialite mother as ugly, she invented herself on her own terms.

    Total Film Full Review
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  • 3. Lass, Fürstin, lass noch einen Strahl Trauerode, Cantante BWV 198 Performer: Choeurs et Solistes Stream Music Online
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