Coco Chanel & Igor Stravinsky
Sony Pictures Classics | Release Date: June 11, 2010 CRITIC SCORE DISTRIBUTION
56
METASCORE
Mixed or average reviews based on 28 Critic Reviews
Positive:
12
Mixed:
15
Negative:
1
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Critic Reviews

Critic scorePublicationBy date
100
ObserverRex Reed
Everything works miraculously here, making Coco Chanel & Igor Stravinsky one of the most bountiful experiences of the year. Read full review
80
Los Angeles TimesMichael Ordoña
The flesh-and-blood protagonists are powerful, driven people caught in a riptide. Read full review
75
Chicago Sun-TimesRoger Ebert
Coco Chanel & Igor Stravinsky concerns a love affair between two irresistible forces who have never met an immovable object before. Read full review
75
Miami HeraldRene Rodriguez
Unlike last year's "Coco Before Chanel," in which Audrey Tautou played a warmer, kinder spirit, Mouglais presents her character as steely and unbending, a woman who has built her empire on her terms and refuses to abdicate the slightest control on her life. Read full review
75
San Francisco ChronicleMick LaSalle
For at least a half hour, Coco Chanel & Igor Stravinsky is a brilliant and exciting film and seems almost sure to be one of the best of 2010. Then it becomes simply good. Then it becomes merely interesting. And then, about 15 minutes before the finish, it becomes dull and interminable. Read full review
75
Philadelphia InquirerSteven Rea
Offers two hours of luxury and loveliness, music and art, and a bit of sexually charged madness, too. Read full review
70
Chicago ReaderAndrea Gronvall
The film would have been more satisfying if director Jan Kounen (Darshan: The Embrace) had shown more of the ferment of the times. Read full review
70
The Hollywood ReporterKirk Honeycutt
There are so many guilty pleasures here that it's amazing the film is as good as it is. The passions feel real, the roles are fully inhabited and the art speaks for itself. Read full review
67
Tampa Bay TimesSteve Persall
Coco Chanel & Igor Stravinsky is an elegant scandal almost devoid of true passion, no matter how many times the nude lovers artfully mingle. Read full review
65
MovielineMichelle Orange
Despite an admirable mastery of both Russian and French, Mikkelsen has no shot at making a proud (Russian!) musical genius a believably lovesick puppy. Read full review
63
New Orleans Times-PicayuneMike Scott
Getting two biographies on the same person in such a short window is unusual. What's even more unusual is that both suffer from the same flaw. Read full review
63
St. Louis Post-DispatchJoe Williams
It's a little black dress of a movie, an elegant hint of something sensual that is ultimately denied to us. Read full review
60
EmpirePatrick Peters
A beautifully designed but overly formal biopic that can't match the greatness of the artists it depicts. Read full review
60
Boxoffice MagazineRichard Mowe
A sumptuous recreation of 1920s France and the unbridled affair between two of the century's most iconic figures. Read full review
60
Time OutOlivia Giovetti
The opening riot at The Rite of Spring concert sets the scene for an anticlimactic biopic, which could have been sumptuously potent had this dual portrait of artists in love been trimmed…or at least hemmed. Read full review
60
New York Daily NewsJoe Neumaier
Where the film fails, ironically, is in the central love affair. Danish actor Mads Mikkelsen is undeniably gifted, but his Stravinsky is a blank, stoic presence only comfortable at a piano. Read full review
50
Portland OregonianMarc Mohan
Unfortunately, neither of these fascinating artistic giants is given much of a personality. Read full review
50
Austin ChronicleMarjorie Baumgarten
The costume design, however, is the film's most enthralling aspect; replicas of actual Chanel designs were created for the film, and a fresh costume graces nearly every sequence. Alas, Coco Chanel & Igor Stravinsky unfolds on a screen instead of a catwalk. Read full review
50
Arizona RepublicRichard Nilsen
Two narcissists do not a couple make, and without any actual relationship, there really isn't a movie. Read full review
50
VarietyJordan Mintzer
On a dramatic level, Dutch-born helmer Jan Kounen's hyper-stylized, emotionally vacuous film is like a pair of designer pants that look great but don't fit, or a rare vinyl recording that keeps skipping at the best parts. Read full review
50
Village VoiceKarina Longworth
Here, Coco's cast as a femme fatale who preys on a helpless nebbish--the Audrey Tautou--starring "Coco Avant Chanel" was much more fun. Read full review
50
Entertainment WeeklyLisa Schwarzbaum
The movie, by Dutch director Jan Kounen, is all surfaces, set pieces, Significant Looks, and voguing -- the same strictures Chanel and Stravinsky sought to bust. Read full review
50
The New York TimesStephen Holden
Never regains that initial blast of energy and the final scenes wobble toward a wishy-washy ending. Read full review
50
Christian Science MonitorPeter Rainer
The well-staged opening sequence, which depicts the riot at the 1913 Paris première of "Le Sacre du Printemps," is, alas, the film's high point. Read full review
50
The A.V. ClubSam Adams
The movie's saving grace is its performances. Read full review
50
The Globe and Mail (Toronto)Rick Groen
It's all picture and no motion, as wooden as its framing. Lovely and lifeless, the result is a traditional portrait of two defiers of tradition. Read full review
50
Washington PostDan Kois
Igor may be the most important composer of the 20th century, but he is a mere human. Coco, in this beautiful but indulgent French film, is a work of art. Read full review
38
New York PostKyle Smith
As portrayed by Anna Mouglalis and Mads Mikkelsen, Coco Chanel & Igor Stravinsky weren't exactly Rhett & Scarlett. Read full review
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