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Final Portrait (2017) - Movie Reviews - Page 3 of 6

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Review of Final Portrait (2017)

By Ann Hornaday (1,919) for Washington Post (9,851) on 03 Apr 2018

Tucci successfully banishes...cliches in a finely observed character study that possesses the ring of careworn, unprettified truth…

Review of Final Portrait (2017)

By Ray Pride (544) for Newcity (539) on 30 Mar 2018

Tucci transforms an artist's world into a flurry of process…

Review of Final Portrait (2017)

By Emily S (662) on 29 Mar 2018

Just about the time I thought it was getting slow, there was a montage! Perfect…

Review of Final Portrait (2017)

By Danielle Solzman (397) for Solzy at the Movies (339) on 29 Mar 2018

At it's core, Final Portrait is a movie that offers insight into the artistic process and the friendships that go with it…

Review of Final Portrait (2017)

By Anita Katz (182) for San Francisco Examiner (1,621) on 29 Mar 2018

Tucci impresses in depicting Giacometti's creative process…

Review of Final Portrait (2017)

By Robert Kojder (605) for Flickering Myth (680) on 28 Mar 2018

Geoffrey Rush gives a methodical performance that captures the intricacies of a complex tortured artist, and to the film's benefit, he swears,…

Review of Final Portrait (2017)

By Mark Dujsik (2,093) for Mark Reviews Movies (2,037) on 28 Mar 2018

Final Portrait isn't much of a biography, a character study, a joke, or an examination of the mind of an artist…

Review of Final Portrait (2017)

By Sherilyn Connelly (422) for SF Weekly (560) on 28 Mar 2018

Stanley Tucci's drama Final Portrait does the impossible: It finds a use for Armie Hammer's simultaneous beauty as a man and blandness as a performer…

Review of Final Portrait (2017)

By Kristen Lopez (178) for The Young Folks (1,024) on 27 Mar 2018

Final Portrait does an excellent job of capturing the anxiety, the malaise, and distraction that comes from wanting to create something…

Review of Final Portrait (2017)

By Rex Reed (1,506) for New York Observer (1,400) on 27 Mar 2018

This movie is a meticulous dossier of the artistic process by one man who created it and another man who lived through it…

Review of Final Portrait (2017)

By Mick Lasalle (3,303) for San Francisco Chronicle (7,630) on 26 Mar 2018

Final Portrait is basically just an anecdote about a painting…

Review of Final Portrait (2017)

By Tony Medley (1,109) for Tolucan Times (639) on 24 Mar 2018

If Stanley Tucci wanted to capture the tedium involved in sitting for a portrait for a famous artist he succeeded…

Review of Final Portrait (2017)

By Dana Schwartz (34) for Entertainment Weekly (6,953) on 23 Mar 2018

A patient, un-presuming 90 minutes that never undertakes being more than the sum of its parts - more baguette than glossy, sugar-crowned…

Review of Final Portrait (2017)

By Todd Jorgenson (1,852) for Cinemalogue (704) on 23 Mar 2018

Tucci's screenplay lacks depth yet captures some intimate surface details about his subject, while Rush's performance brings sympathy to a…

Review of Final Portrait (2017)

By Peter Rainer (2,575) for Christian Science Monitor (3,788) on 23 Mar 2018

The film's inexplicably grayish palette doesn't do the artist or the artwork any favors, and the action, which mostly takes place in Giacometti's…

Review of Final Portrait (2017)

By Michael Ordoña (350) for Common Sense Media (4,943) on 23 Mar 2018

Insightful story about art has language, sexual situations…

Review of Final Portrait (2017)

By Glenn Kenny (1,728) for RogerEbert.com (5,563) on 23 Mar 2018

An apt tribute to both the artist and art itself…

Review of Final Portrait (2017)

By Jeanne Kaplan (738) for Kaplan vs. Kaplan (1,174) on 22 Mar 2018

I cannot recommend Final Portrait enough. It is a small but significant masterpiece in the over-populated landscape of giant, noisy productions…

Review of Final Portrait (2017)

By Jeannette Catsoulis (1,537) for New York Times (5,786) on 22 Mar 2018

Final Portrait (adapted from Lord's 1965 book, A Giacometti Portrait) is pretty thin on drama…

Review of Final Portrait (2017)

By Erica Abeel (109) for Film Journal International (5,095) on 21 Mar 2018

Alberto Giacometti paints a portrait of his friend James Lord in this sterile exercise that fails to gain dramatic traction from the artist's…

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