| Netflix | Release Date: October 16, 2020 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
7
Mixed:
25
Negative:
6
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Critic Reviews
Oct 19, 2020
Rebecca has a couple of slow stretches, but James is always interesting and always sympathetic, if only because we see her struggling to do her best. After all, it’s much easier to not give up on a character when we see she hasn’t given up on herself. The movie further benefits from the absence of 1940s-style censorship, which suppressed a key plot detail that’s restored here.
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Oct 21, 2020
There’s nothing in this version of Rebecca to cause it to stand out from its crowded field of predecessors but, due to the strength of the novel (to which it is reasonably faithful), it holds the viewer’s interest and will likely maintain an aura of suspense and mystery for those unfamiliar with the story.
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Movie NationOct 21, 2020
Pint-sized James — you never realize how short her other leading men were until you see her paired with Hammer — carries this Rebecca, and I think carries it off, even as it’s taking us places no “Rebecca” has ever gone before. It’s not a classic and not “Hitchcock,” but hell, thanks to James, Hammer, Thomas and Dowd, it’ll do.
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Oct 15, 2020
For about three-quarters of the running time, Rebecca does a respectable job of navigating between respect for the source and establishing its own distinct identity. And then, at precisely the moment where it stands to make a few enlightened improvements . . . this Rolls-Royce of an adaptation veers off the road.
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The PlaylistOct 15, 2020
Wheatley plays it safe, and throws star power and sumptuous imagery our way as reason enough for his pale, uninventive iteration of the classic gothic horror. It goes down easy enough thanks to Lily James and the already-delicious plot, but Wheatley’s imitation fumbles when it matters most.
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IndieWireOct 15, 2020
Despite its title, this Rebecca is decidedly modeled after the second Mrs. de Winter instead of the first. Soapy where Hitchcock’s interpretation was stiff, the film is beautiful and hurried and eager to be liked by everyone in a way that will only lead to trouble. It dutifully respects Manderley’s past, while at the same time revitalizing that drafty mausoleum with an Instagram-ready sheen.
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Oct 20, 2020
Oct 22, 2020
Instead of growing from a sweet young thing into a strong woman who is Maxim’s equal, this bride stays scared and vulnerable until close to the end, when the script turns her implausibly into a sort of Nancy Drew doing detective work for the husband she adores. Who could have guessed that the film with a modern perspective on gender politics was the one made 80 years ago?
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Oct 21, 2020
Wheatley — who specializes in thrillers with a macabre vibe, like "Kill List" (2011) and "High-Rise" (2015) — overhandles and overworks the dough of Du Maurier’s basic story. His movie is sometimes dumb, sometimes dull and sometimes entertaining; it just doesn’t know what it wants to be, and that lack of vision drains its potential power.
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