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The Great Gatsby (2013) – VOD
Rating: 3 (out of 5). The Great Gatsby (2013) follows the life and times of millionaire Jay Gatsby (Leonardo DiCaprio) and his love for Daisy Buchanan(Carey Mulligan), as recounted by his neighbor Nick Carraway (Tobey Maguire) in the 1920s. Director Baz Luhrmann created a big, bold adaptation of the famous novel that, if not prefect, nevertheless scored with the critics with one calling the film “eminently enjoyable” and another said that the director got it “just right.” The reviews are below.
You can also rent this film from Amazon.
Starring: Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, Isla Fisher, Jason Clarke, Amitabh Bachchan.
Genre: Drama, Romance
Chicago Sun-Times gives the movie 3 ½ stars, and further says that “Director Baz Luhrmann gets ‘The Great Gatsby’ just right.”
New York Post rates it 3 ½ out of 4 stars, and writes, “Given the director’s penchant for visual bombast and the superhero-sized budget at his disposal, it’s also surprisingly satisfying (and text-faithful) as a dramatization of F. Scott’s Fitzgerald’s classic novel — thanks to stellar work by Leonardo DiCaprio in the title role and Tobey Maguire as his neighbor and only true friend, Nick Carraway.”
The Charlotte Observer gives the movie a B+ rating, and notes, “The “Gatsby” that, of three I’ve seen and two I’ve read about, seems most faithful to the spirit of Fitzgerald’s superbly sad book. His audacity pays off in a way that may not exactly reproduce the novel but continually illuminates it.”
The Oregonian thinks “Despite the fact that all this gleeful depiction of excess seems to somewhat miss the point of Fitzgerald’s novel, though, the movie is a success, largely thanks to lead performances that carry emotional weight despite all the frenzy around them.”
Tampa Bay Times writes, “It is aggressively bold, taking the excesses and conspicuous consumptions of Fitzgerald’s characters to their illogical ends. If a scene calls for sparks, Lurhmann provides fireworks; if drama demands depth, he presents it in 3-D.”
St. Louis Post-Dispatch says, “This is not your grandfather’s “Gatsby.””
According to Movie Nation, this movie is “Jazzy, fizzy and often quite fun.”
Slate says this movie will give you “A grandiose, colorful, pleasure-drenched night at the movies.”
Time writes, “Maguire’s otherworldly coolness suits the observer drawn into a story he might prefer only to watch. DiCaprio is persuasive as the little boy lost impersonating a tough guy, and Mulligan finds ways to express Daisy’s magnetism and weakness.”
New York Magazine thinks, “The best thing about Baz Luhrmann’s much-anticipated/much-dreaded The Great Gatsby is that, for all its computer-generated whoosh and overbroad acting, it is unmistakably F. Scott Fitzgerald’s The Great Gatsby. That is no small deal.”
The New York Times gives an advice: “The best way to enjoy Baz Luhrmann’s big and noisy new version of “The Great Gatsby” — and despite what you may have heard, it is an eminently enjoyable movie — is to put aside whatever literary agenda you are tempted to bring with you.”
The Village Voice writes, “It’s an expressionist work, a story reinvented to the point of total self-invention, polished to a handsome sheen and possessing no class or taste beyond the kind you can buy. And those are the reasons to love it.”
The Hollywood Reporter says that his movie is “A hugely elaborate, well-cast adaptation of an American classic that will provoke every possible reaction.”
Entertainment Weekly gives it a B- rating, and further writes, “There’s a reason The Great Gatsby continues to be taught in classrooms nearly 90 years after it was written. It’s a dazzling time capsule of a shimmering era and a devastating look into the dark side of the American dream. Too bad Luhrmann, the caffeinated conductor, doesn’t trust that story enough. He’d rather blast your retinas into sugar-shock submission. Uncle, old sport! Uncle!”
Boston Globe notes, “So it’s not a great “Gatsby.” It still comes closer than other versions have dared, in both its willful vulgarity and its on-and-off awareness of what Americans have traditionally used vulgarity to avoid thinking about.”
Slant Magazine rates it 2.5 out of 4 stars, and describes it further: “Decadent prose is transformed into a decadent filmmaking style that defies modesty in the most brutal sense.”
Total Film concludes, “Gatsby fans will be unoffended yet untransported, but soundtracks will sell, DiCaprio will be on bedroom walls again and new readers may discover the book – which is no bad thing.”
Arizona Republic thinks, “… With a running time of nearly 21/2 hours and a near-constant bombardment of visual overstimulation, it’s exhausting.”
Variety observes, “It is often said that great books make for inferior films and vice versa, but there is something particular about “Gatsby” that seems to defy the screen.”
A.V. Club gives the show a C+ rating, and thinks, “While it gets points for a Sunset Blvd. homage, even the finale goes soft. The movie leaves the sense that, like Gatsby himself, Luhrmann has bought the book without cutting the pages.”
Film.com calls it “Undeniably polished and unfailingly empty.”
NPR thinks, “As the execution of an audacious concept, it’s an impressive effort; as an attempt to distill the spirit of Fitzgerald’s novel, it’s a near-total failure. Luhrmann renders the green light on the Buchanans’ dock with retina-searing vividness, but he never comes close to capturing its fatal allure.”
The Philadelphia Inquirer calls it “A dizzying display of excess.”
Reelviews describes “The Great Gatsby”: “As a book, The Great Gatsby is a compelling read. As translated into movie form by Luhrmann, it’s something of a struggle. The pacing is consistently off. The movie lurches along unevenly, daring the viewer to remain invested and interested.”
Miami Herald thinks, “Baz Luhrmann’s The Great Gatsby is a failure that should have at least been a magnificent mistake, a risky endeavor that showed a daring intent even if its brash vision didn’t quite succeed. Instead, the movie leaves you cold and weary and vaguely disgusted…”
The Washington Post writes, “… for all its devotion to surface sheen, Luhrmann’s “Gatsby” is strangely un-beautiful, never becoming something genuinely new rather than an elaborately illustrated retelling.”
Chicago Tribune says, “Despite a few good ideas and the uniformly splendid production and costume designs by Luhrmann’s mate and partner, Catherine Martin, this frenzied adaptation of “The Great Gatsby” is all look and no feel.”
USA Today notes, “Frenzied and overwrought, Baz Luhrmann’s The Great Gatsby is a glitz-filled folly.”
Indiewire thinks, “Released in ostentatious 3D, set to a contemporary soundtrack by Jay-Z and shot with a soaring virtual camera that celebrates every corner of the affluent scenario, Luhrmann’s “The Great Gatsby” has the hallmarks of a contemporary Hollywood spectacle. It’s missing the explosions, but make no mistake: “Gatsby” is one glitzy misfire.”
Empire Online gives his verdict, “Despite DiCaprio’s prize performance, purists will fume, but even as lit-crashing razzle-dazzle entertainment Luhrmann’s adaptation is a candelabrum too far.”
New York Daily News was impressed by DiCaprio, and writes, “Luhrmann piles on one shiny distraction after another. But amid all the seductively gaudy excess, DiCaprio finds both the heart and hurt buried within one of literature’s everlasting enigmas.”
Los Angeles Times shares the same sentiment, and writes, “Director Baz Luhrmann’s ‘The Great Gatsby’ is a smothering spectacle for the audience and actors alike, though Leonardo DiCaprio succeeds in the lead role.”
The Austin Chronicle thinks, “Luhrmann’s version (co-scripted with Craig Pearce) is the fifth whack at bat, and it gets some elements right, others spectacularly wrong, in its retelling of the doomed Jay Gatsby (DiCaprio), a self-invented entrepreneur with criminal ties who is anxious to woo back his first love, Daisy (Mulligan, rocking a killer warm coo that turns to wobbly gelatin under duress).”
Salon concludes, “Not everything has to be a movie! This fragile masterwork probably never will.”
TimeOut New York says, “Shorn of its quintessentially American roots, a biting tale of adult extravagance becomes insubstantially tween-aged.”
The Wall Street Journal writes, “Baz Luhrmann’s “The Great Gatsby” is a tale told idiotically, full of noise and furor, signifying next to nothing.”
RollingStone concludes, “There may be worse movies this summer than The Great Gatsby, but there won’t be a more crushing disappointment.”
The New York Observer says, “Director Baz Luhrmann takes a meat cleaver to F. Scott Fitzgerald’s literary masterpiece”
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New on VOD
Here are the new VOD films for the week of April 15, 2014. Click on a movie title for more information, trailers and reviews.
Philomena. Rating: 5 (out of 5). A political journalist picks up the story of a woman’s search for her son, who was taken away from her decades ago, after she gave birth and was forced to live in a convent. The film, based on a true story, will be available on VOD starting Tuesday, April 15. The critics are enamored with this film with New York Observer saying, “Philomena is not only my favorite film of 2013, but one of the most eloquent, powerful and perfect movies I have ever seen.” Reviews, video and more.
The Invisible Woman. Rating: 4 (out of 5). A happily married mother and schoolteacher, Nelly, is haunted by her past, when she had a complicated and fragile, yet exciting, relationship with Charles Dickens. This period drama premieres on VOD on Tuesday, April 15. The critics are impressed with the film and especially the acting though some note that it has a "leisurely pace." As Variety says, “So tastefully mounted and brilliantly acted that it wears down even the corset-phobic’s innate resistance to such things.” Reviews, video and more.
Patrick: Evil Awakens. Rating: 3 (out of 5). A young nurse, who just started working in an isolated psychiatric ward, takes an interest in Patrick, a seemingly comatose patient who is actually a subject of a mad scientist’s experiments. Her innocent fascination turns sinister as Patrick begins using his psychic powers to manipulate her every move, sending her life into a terrifying spiral. Watch for it on VOD starting Tuesday, April 15. Most of the critics enjoyed (though did not love) this remake of the 1978 movie, and FearNet calls the film "a good example of how to remake an obscure but admired horror flick." Reviews, video and more.
Wolf Creek 2. Rating: 3 (out of 5). Another tourist becomes the prey for the serial killer Mick Taylor. The critics have given mixed reviews to this horror film that comes to VOD on Thursday, April 17. Reviews, video and more.
Beneath The Harvest Sky. Rating: 3 (out of 5). Casper and Dominic have been best friends since childhood. Wanting to get out of their quiet hometown on the Maine-Canada border, the boys make a pact to pool their earnings on a car and hit the road. But when Casper is drawn into drug smuggling with his outlaw father to pay his share, their friendship gets strained and both are forced to make adult choices too soon. The film premieres on VOD on Tuesday, April 15. There were more positive than negative reviews on the film and according to Variety, “”Beneath the Harvest Sky” offers a heartbreakingly authentic, vividly realized account of adolescent frustration and yearning.” Reviews, video and more.
Small Time. Rating: 3 (out of 5). Freddy Klein decides not to go to College, and instead joins his father in his used-car business. Premiering on VOD on Friday, April 18, The Village Voice thinks, “The film isn't without mirth and charm: Norris steals a number of scenes as the charismatic Ash, and the banter between Norris and Meloni is charmingly convivial. But as Surnow steers into serious waters, the direction of the storytelling becomes increasingly misguided.” Reviews, video and more.
Ride Along. Rating: 2 (out of 5). Ben, a security guard, joins a cop, James, on a 24-hour patrol of Atlanta in order to prove himself worthy of marrying the latter’s sister. Premiering on VOD on Tuesday, April 15, most of the critics are not impressed with this one. New York Magazine (Vulture) is one of the better reviews when they write, “It all mostly works, but you can’t help but wonder at times if it could have been a lot funnier if it had just a bit more edge.” Reviews, video and more.
The Nut Job. Rating: 2 (out of 5). Surly is banished from the park he lives in, and is forced to live in the dangerous city. Lucky for him, he comes across the only thing that can save not only his life, but the rest of the park community as well as winter approaches: Maury’s Nut Store. The film premieres on VOD on April 15. Most of the critics were unimpressed with this animated film, as The Arizona Republic says, “Ever had one of those artificially sweetened candies that taste OK at first but leaves a lingering, bitter aftertaste? That’s sort of how it goes with “The Nut Job.” Reviews, video and more.
A Promise. Rating: 1 (out of 5). Adapted from Stefan Zweig’s Journey into the Past, this film by French director Patrice Leconte centers on the affair between a handsome male secretary and the wife of a wealthy industrialist. Coming to VOD on Friday, April 18, this film has not won the heart of the critics, and IndieWire (The Playlist) thinks, “Leconte’s never been the edgiest of filmmakers, but “A Promise” is so free of anything close to an edge that it’s like watching a beige sphere for ninety-odd minutes—and it feels much longer.” Reviews, video and more.
Kid Cannabis. No rating. A dramatic film that tells the true story of a teen dropout based in Idaho, who builds a multimillion-dollar marijuana ring by trafficking drugs through the woods across the Canadian border. But his many vices may just leave this kid in way over his head. The film comes to VOD on Friday, April 18, the same day as its theatrical release, and no reviews are available as of writing. Video and more.
Bright Days Ahead (Les Beaux Jours). No Rating. A recently retired woman, eager to devote some free time to herself, begins taking part in some events at a local seniors center. When she becomes involved with a man decades younger than herself, she keeps this from her husband, and she soon begins to experience life in ways that she has not in a long time. The film premieres on the same day as its theatrical release, April 15, in French with English subtitles. No critic reviews are available as of time of writing. Video and more.