Widow Clicquot: reviews

What the critics say average 6.7 from 19 outlets

• 8.8 Movie NationRoger Moore And Bennett impresses, first scene to last. Read
• 8.3 The Film StageJared Mobarak And Bennett is wonderful as always. Her ability to show strength through vulnerability is unparalleled. Read
• 7.5 IndiewireChristian Zilko But from its eureka moment when Barbe-Nicole develops her iconic rose champagne to its final title cards about the company’s ongoing success, “Widow Clicquot” has all the same beats as the walk-and-talk business movie that you watched on your last flight. It would make perfect in-carriage entertainment for a drowsy Victorian family taking a long trip across the countryside. Read
• 7.5 The PlaylistRodrigo Perez In the end, “Widow Clicquot” is a drama about turning heartbreak and tragedy into something brighter, richer, and spilling over into good fortune. And it’s tastefully made too. Read
• 7.5 San Francisco ChronicleMick LaSalle There was enough story here for an epic, but Napper chose to make a poem-like movie, one that sustains a tone of mystery and wonder from start to finish. Read
• 7.5 Original-CinKim Hughes It may not sound like a big deal, but it’s actually very satisfying to see game-changing historical women having their stories told on a major platform and having them told well, with emotional intelligence. Read
• 7.0 The Hollywood ReporterAngie Han Bennett’s sensitive performance pulls us into her growing anguish and fear, both for him and of him. Read
• 7.0 The Arizona RepublicDina Kaur To say Bennett carries this film on her back is an understatement. She takes on the challenge of depicting romance, passion, grief, strength and perseverance. Read
• 7.0 VarietyGuy Lodge “Widow Clicquot” certainly makes a virtue of its milieu and rolling landscape, richly shot throughout in dusky earth tones, and more substantively, of the rather romantic lore surrounding the widow in question. Read
• 7.0 ColliderTherese Lacson Bennett lifts the story up just like the bubbles in the veuve's own delicious champagne, showing us the brilliance in this biopic drama. Read
• 6.8 The WrapSteve Pond But the gender-driven power struggles in “Widow Clicquot” are in some ways the most conventional part of the film, which can soar in one moment and feel routine in the next. Read
• 6.3 Roger EbertGlenn Kenny It would be reductive to call it a “girlboss” story, but it wouldn’t be entirely inaccurate to, either. Read
• 6.0 The Globe and MailBarry Hertz As a result, an extraordinarily French story is flattened into conventional Euro-pudding nothingness. There is little here to surprise, less to even expect and still savour. Read
• 6.0 Los Angeles TimesKatie Walsh Nevertheless “Widow Clicquot” is a worthy, if abbreviated, toast to the woman behind one of the most iconic Champagnes in the world. Read
• 6.0 The GuardianPhil Hoad It’s not quite the full grand cru period drama from the Merchant Ivory vintage, but rather a semi-sparkling biopic. Read
• 6.0 Decine21Pablo de Santiago Flaws and all, and without being a marvel, “Widow Clicquot” is easy to watch and will surely please lovers of wine and winemaking, as well as of true stories about pioneering women of unbreakable character, even if they had to endure the excesses of their time. Read
• 5.0 New York TimesBeatrice Loayza Ambitious as it is in scope, the film is also somewhat charmless and dour, caught between wanting to deliver the passion audiences expect from a period romance and constructing a suspenseful underdog tale. It’s too bad it never finds a winning balance. Read
• 5.0 Rolling Stone en EspañolAndré Didyme-Dôme But setting that misstep aside, we can say that Haley Bennett, the actress from that disturbing film known as “Swallow,” manages to mesmerize us with her presence as Madame Clicquot, in a film that almost, almost seems like a spin-off of the series “Outlander,” with its rosy, melancholy, heavy and mushy tone, and that almost, almost seems like an elegant, big-budget infomercial for the Veuve Clicquot brand. Read
• 5.0 MicropsiaDiego Lerer The film fulfils the aims and conventions of those three kinds of films at once (or tries to), but, contradicting what it sets out to say, it rarely strays from established formats, respecting the codes of this kind of film to the extreme, especially everything to do with its ‘girl power’ side. Read