The Danish Girl's reviews
Media reviews
Variety
"Redmayne offers the best performance of his career (...) reunited with (...) Tom Hooper, who returns to a precious style and especially inside (...) which is intended to be the arthouse phenomenon about which everybody will talk about. "
New York Post
Capping off the year that transgender stopped being transgressive, the story of artist Lili Elbe (Eddie Redmayne) makes for one of the year?s finest films.
Rolling Stone
Vikander does wonders as a wife who stands by her woman. And Redmayne deserves every superlative, showing Lili experimenting with her new feminine wiles.
The Wrap
Director Tom Hooper shakes things up a bit with The Danish Girl, proving that he?s capable of making a movie that?s both steeped in awards-season prestige and in possession of a pulse.
Empire
Redmayne?s transformation may grab the headlines but it is Vikander?s touching turn that steals the show. Sedate, certainly, but The Danish Girl is touching, timely and exquisite.
The Hollywood Reporter
"Although the film remains on safe ground, you can not question its integrity, or fragile balance between strength and vulnerability that gives Eddie Redmayne the leading role."
Fotogramas
"Correction, restraint, elegance and narrative transparency (...) elements which, unfortunately, fail to provide a real life history that pales before a too predictable script and staging that is content to exploit a decorative preciousness. "
La Razón
"Simplify the complex of metamorphosis in order for the audiences to accept something that, unfortunately, is still a taboo (...) It is a true story, but totally condensed (...) Vikander is even better than Redmayne without any second thoughts.
Cinemanía
Film as correct as corseted that by repeating parameters which brought Hooper luck in 'The King's Speech', loses sight any hint of emotion.
Indiewire
The story suffers from a distracting aura of self-importance. Vikander brings a remarkable tenderness to her character (who, in real life, left her husband's side much earlier) but Redmayne's sharp gaze and toothy smile make it virtually impossible to ignore the actorly feat on display.
El Mundo
"Redmayne, returns the Oscar. (...) From the beginning to the end of the film (...) it is cheesy and infected with an exasperating aestheticism. The worst thing is that it is very boring."
Festival Internacional de Cine de Lanzarote