| Netflix | Release Date: November 22, 2023 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
50
Mixed:
12
Negative:
0
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Critic Reviews
Maestro is the movie of the year. Amendment: not to slight the amazing Oppenheimer, make that one of the two best films of the year. But Bradley Cooper’s warts-and-all biopic about volatile conductor-composer Leonard Bernstein has more passion, tenderness and heartbreaking resonance—and it’s a lot more fun.
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This is a complex and sophisticated picture, the kind of grown-up love story we see all too rarely these days, especially when it comes to starry, big-ticket moviemaking. It’s entertaining and robust and forthright; it’s also tremendously sad, not necessarily in a bring-your-hanky way, but in a deeper, more truthful way.
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Engrave an Oscar for actor-director Bradley Cooper for his heart-full-to-bursting tour de force as composer-conductor Leonard Bernstein. Alive with glorious music, the film soars on the undying love the bisexual legend feels for the wife (a never-better Carey Mulligan) who lives with his angels and demons.
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Amplifying its force with thrilling use of the subject’s music, this is a layered examination of a relationship that might be grossly over-simplified today as that of a closeted gay man and his “beard.” But Cooper and co-screenwriter Josh Singer dig deeper to depict a unique union, fraught with conflicts yet unbreakable — even when it’s broken.
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If the film is a tad baggy and unruly that seems by design and thus less a critique than an accurate assessment. But overall and while painting so boldly on such a broad canvas (the film spans decades and calls on its actors and make-up department to work overtime in delineating the passage of time) Maestro emerges as a bombastic aria of a biopic befitting its central subject.
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This is not a movie made for second-screen viewing; anyone glimpsing at their phone for even a moment may miss a key character moment or plot detail that is conveyed visually. It will be best to see in a theater during whatever release window Netflix provides — but even when viewed at home, Maestro deserves the same level of respect from viewers as one of Bernstein's public performances of the music of Mahler.
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PolygonDec 4, 2023
While plenty of scenes in Maestro have their discrete power—teeming with insight and impressive artistry—it’s only in an appreciation of Mulligan and Cooper’s full-bodied work that the greater whole finds resonance. In them lies the film’s true majesty, its best and most convincing approximation of what it is to love and create and, in so doing, reveal something transcendent.
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The handful of scenes in which Bernstein does speak of his craft are engaging; the film depicts him as well-loved as both a professional and a man, a charming teacher to his students; his charisma and confidence are hypnotic. Unfortunately, it’s unclear what Cooper is really keen to communicate with this portrayal.
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IndieWireSep 2, 2023
As a study of how the Bernsteins’ near-three-decade marriage endured Lenny’s gayness and genius, Maestro succeeds off the chemistry between Mulligan and Cooper, but the film often looks and feels too fussed-over, almost too precisely manicured, to ever erase its own parameters as a linear biopic.
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What is most conspicuously absence is a hint, in even the vaguest technical terms, of what made Bernstein such an admired conductor and composer. It is not enough to have people tell us (and him) he’s a genius. The film does, however, give us a dramatic tribute to the passion he put into his work.
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Maestro does manage an incredibly moving later section depicting Bernstein’s response to Felicia’s struggle with cancer (though much of these scenes owe their power to Mulligan), yet I ultimately came away feeling that the movie was more interested in Cooper as an artist than Bernstein.
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This couple’s connection feels authentic and lived in — but I must confess that at a certain point I began to feel like an additional dimension was missing, some sort of tangible connection between Bernstein’s outward persona and his marital stresses, or between his sexuality (and the steps he took to hide it) and his musical output.
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Nothing Cooper does is organic or authentic, and his show-off performance is always stilted. He arduously thinks through every single choice — it’s time to scream into a pillow; cue the laugh; ready, set, cry. Nobody goes to a movie to watch actors ponder their next beat. We want to feel, and his overwrought turn does not allow us to.
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The PlaylistSep 2, 2023
Not only is the film’s portrayal of Felicia tainted by ethnically inappropriate casting, but her character itself is often reductive—she is but the modern wife of a modern man, coming forth with a loose agreement on fidelity that inched Leonard across the finish line of a lengthy road towards marriage.
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