Modigliani - Movie Reviews - Rotten Tomatoes

Modigliani Reviews

August 16, 2007
Instead of trying to provide insight into this genius's debilitating madness, Davis prefers to wallow in incoherent and clichéd misery, punctuated by poetically oblique imagery.
Top Critic
July 7, 2005
A film of vitality, with imagery as haunting and romantic as it is intense.
July 1, 2005
Modigliani is slow, shamefully cliched and disjointed as a cubist portrait.
Read More | Original Score: 1.5/4
July 1, 2005
Thanks to writer-director Mick Davis, the film, like its subject, dies young.
Read More | Original Score: 1/4
July 1, 2005
It's hard to take this oddball movie seriously, right down to the undisguised streetwise-American accent of Andy Garcia as the Italian Jew Amedeo Modigliani.
Read More | Original Score: 1.5/4
June 30, 2005
The best and maybe the only use to be made of the catastrophic screen biography Modigliani is to serve as a textbook outline of how not to film the life of a legendary artist.
Read More | Original Score: 1/5
June 28, 2005
Sadly, instead of situating the l'amour fou in the artistic ferment of the period (1917-1920), Davis twists the period to fit the story.
May 19, 2005
It is a tidy stack of snapshots, unencumbered by a point of view.
Full Review | Original Score: C-
May 12, 2005
Modigliani may have been noted for his drunken volatility and arrogance, but once you get a dozen years or so of Behind the Musics and E! True Hollywood Stories behind you, it's hard to get worked up about that sort of thing anymore.
February 4, 2005
Despite some nice shots of scenes converting into well-known art, Modigliani is plainly, badly directed.
Full Review | Original Score: 1.5/4
October 5, 2004
Failing to invest famous characters with the depth to break free of a made-for-TV feel, earnest misfire does make one want to read up on the real Modigliani.
October 5, 2004
Both Modi and Jeanne are genuinely tragic figures. But the movie so trivializes them as adolescents, lacking control of their own emotions, that their tragedy never takes hold.