Nicholas and Alexandra
Columbia-Warner Distributors | Release Date: December 13, 1971 CRITIC SCORE DISTRIBUTION
57
METASCORE
Mixed or average reviews based on 10 Critic Reviews
Positive:
4
Mixed:
6
Negative:
0
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Critic Reviews

Critic scorePublicationBy date
80
VarietyStaff (Not Credited)
Sam Spiegel comes up with a rarity: the intimate epic, in telling the fascinating story of the downfall of the Romanovs. Read full review
75
TV Guide MagazineStaff (Not Credited)
While it remains a treat for the eyes, NICHOLAS AND ALEXANDRA suffers from the filmmakers' attempts to tell too much. Read full review
70
Chicago ReaderDave Kehr
One of the best of a bad genre, Franklin J. Schaffner’s Sweeping Historical Romance manages some moderately intelligent historical observations amid its lavishly re-created period decor and the puppy-dog pathos of the two central characters (Michael Jayston and Janet Suzman). Read full review
63
Chicago Sun-TimesRoger Ebert
The problem with "Nicholas and Alexandra" is that it considers the Russian Revolution from, in some ways, the least interesting perspective. Read full review
60
The New York TimesVincent Canby
The problem with "Nicholas and Alexandra" is not inflation, but deflation, the attempt to cram too big a picture into too small a frame. Read full review
60
EmpireDavid Parkinson
A lengthy, visually impressive period piece with little in the way of new material or fresh spins on history to distinguish it. Read full review
60
The GuardianAlex von Tunzelmann
Nicholas and Alexandra boasts terrific performances and gorgeous production design, but it's bloated and unwieldy. There is more history here than the film-makers know what to do with. Read full review
50
Village VoiceAndrew Sarris
The sobriety of the entire enterprise is ill-suited to the lurid period in history it represents. [23 Dec 1971, p.61]
40
Time OutStaff (Not Credited)
Old-fashioned, overlong costume epic, comfortably reactionary in its view of the Tsar Nicholas as a saint who knew not what he was doing to the Russian people, and of the revolutionaries as potential tyrants reaching hungrily for power. Read full review
40
The New YorkerPauline Kael
As obsequiously respectful as if it had been made about living monarchs who might reward the producer with a command performance. Viewers are put in the position of celebrity-lovers eager to partake of the home life of the dullest of the Czars.
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