49
Metascore
15 reviews · Provided by Metacritic.com
- 88ObserverRex ReedObserverRex ReedReviews might be “mixed,” but don’t let that deter you. The Chaperone is a fascinating, exquisitely made film about the early life of sultry silent-screen star Louise Brooks, who traveled from Wichita, Kan., in 1922 to New York City with a proper chaperone named Norma Carlisle.
- 63RogerEbert.comMatt FagerholmRogerEbert.comMatt FagerholmWith these two top-drawer talents anchoring Michael Engler’s The Chaperone, one expects the picture to be terrific, and for the majority of its running time, it does not disappoint.
- 60Los Angeles TimesKenneth TuranLos Angeles TimesKenneth TuranWell-behaved and genteel from the get-go, it has its pleasures, but being wild and crazy is not one of them.
- 58TheWrapSam FragosoTheWrapSam FragosoThe Chaperone is case of a not-so-good movie made by people who are unquestionably talented.
- 50Movie NationRoger MooreMovie NationRoger MooreIt’s a handsomely-mounted, pleasant but dry and almost dull trip back to the Roaring 20s, “Masterpiece” style. Which is it say “Roaring” isn’t really allowed.
- 50Entertainment WeeklyChris NashawatyEntertainment WeeklyChris NashawatyIt’s little more than a handsome snooze that even the Masterpiece Theatre crowd may find a bit too snoozy.
- 50VarietyOwen GleibermanVarietyOwen GleibermanThe Chaperone leaves you wanting to see a movie about the star Louise Brooks became, on camera and off. It could be the great movie that has yet to be made about the silent era, and about the things that women in Hollywood have always faced. Especially one who was unlike any woman the world had seen.
- 50ReelViewsJames BerardinelliReelViewsJames BerardinelliIf ever there was a production that embodies all the negative Masterpiece Theater qualities, this is it.
- 42IndieWireKate ErblandIndieWireKate ErblandWhile Moriarty’s novel functioned as a compelling story about two women from different backgrounds converging during a pivotal time in American history, Engler’s film turns much of its attention to Norma’s story, jettisoning the very best part of the film along the way.
- 30The New York TimesJeannette CatsoulisThe New York TimesJeannette CatsoulisDespite a thoroughly modern central character, this impeccably costumed, wishy-washy period piece feels like it emerged from a PBS storage trunk, wrapped in tissue paper and reeking of mothballs.