| United Artists Releasing | Release Date: December 17, 2021 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
27
Mixed:
18
Negative:
2
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Critic Reviews
How do you make an age-old tale that’s been told many times before feel fresh and invigorating? Hire Peter Dinklage, for starters. He makes Joe Wright’s pandemic project “Cyrano” come alive with a performance heartening and heartbreaking. Wright’s penchant for elaborate, over-the-top set pieces helps, too.
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Peter Dinklage sings! Pushing past the conventional elements in Joe Wright’s ravishing musical version of a unrequited love, Dinklage makes believers of us all. His Cyrano thinks his small size makes him a freak. But it's not a poetic ideal he can't live up to, it's his. That's his tragedy.
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Cyrano may sometimes feels like its struggling to find a way to say something new about a beloved, centuries-old work of art, one that’s been updated and deconstructed and reconstructed ad infinitum. Once the sex-symbol movie star starts whispering in its ear what to say, however, and how to act, and why it’s the well-spoken sadness of it all that makes it so swoonworthy — those are the moments that make this musical positively sing.
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The vivid performances capably capture the humanity at the centre of a film that can sometimes be dominated by Wright’s showy excesses — in particular, his overly elaborate set pieces. But there’s no mistaking Cyrano’s sense of tragedy, its lament for soulmates destined not to get their happy ending.
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IndieWireSep 5, 2021
Is it good? In parts! Is it intoxicated with the same demented bravado that its namesake embodies when he sneaks behind the enemy lines of the Franco-Spanish War, but tragically lacks whenever he’s alone with his true love Roxanne (a ravishing Haley Bennett, with whom Wright himself is besotted in real life)? Absolutely. And that’s plenty to sing about.
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The PlaylistSep 5, 2021
Thanks to the cast (which also includes Ben Mendelsohn, near-unrecognizable as the villainous De Guiche), Cyrano is worth seeing, either now or later. But it's a relatively modest addition to the title's storied history, one where the music subtracts at least as much as it adds to the story's inherent poetry.
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As a musical, only a few songs really stand out, which is always problematic. There’s also a staginess to the whole endeavor that feels awkward and ham-handed when transposed onto the big screen. But director Joe Wright does get excellent performances from his whole cast, and creates a lush and beautiful period piece playground for the characters to exist within.
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Cyrano is gorgeous to look at and periodically to listen to, but narratively it’s a lazy take on the material, combining Victorian ideas of purity with Love Actually clichés prizing impotent schoolboy pining over actual connection. In spirit it’s a lot more like the boring, beautiful Christian than it is the audacious homely Cyrano.
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The story – two guys, one girl, much deceit – is eternally contemporary. Sometimes gigglingly so in the hands of ever-erratic Joe Wright (Anna Karenina, Atonement, Pan), who injects horny, corny musical theatre-kid energy into this latest iteration of Rostand’s doomed love triangle.
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Cyrano is a disappointment. The set design and camera work are first rate, as are the performances of Dinklage and Bennett. It causes one to wonder whether, had the songs been excised in favor a straightforward telling, Cyrano might have played better. As it is, however, it’s merely a handsome looking period piece with too many mediocre songs and a major downer of an ending. Not exactly a great way to ring in a new year.
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